Frederick A. Miller Collection.

Frederick A. Miller, 1913-2000

Frederick Anson Miller was a nationally renowned silversmith. His objects are in the collections of the Cleveland Museum of Art, Renwick Gallery at the Smithsonian, Art Institute of Chicago, and the Museum of Fine Arts, Boston. Best known for his distinctive style of hollowware characterized by its asymmetrical form, he was also an accomplished jeweler and teacher.

A self-taught silversmith he began his career during his formative years, having his mother's souvenir silver spoons melted down (with her permission) to create jewelry. While attending Western Reserve University and later the Cleveland Institute of Art, he took minimal courses in metalworking believing they could not offer him anything he did not already know. At CIA he met his friend and life-long companion John Paul Miller who would later become a recognized goldsmith. Frederick Miller received a BS in Art Education from WRU, and a degree in Industrial Design from CIA. He applied to Potter and Mellen upon graduating, but with no position open, started teaching in his native Akron, Ohio.

Miller joined the Army in 1941 and served in the Signal Corps for nearly five years. Upon leaving the Army, Potter and Mellen offered Miller a position. After attending a six week apprenticeship at Stone Associates in Gardner, Massachusetts, he officially started work at the high-end retailer. A year later Miller began teaching at his alma mater, CIA. After nearly twenty years of working for Potter and Mellen, Miller along with John T. (Jack) Schlundt, purchased the company.

A critical point of Miller's career was the second Silversmithing Workshop Conference held in August 1948. Sponsored by the Craft Service Department of the precious metal company Handy & Harman, the month-long conference influenced Miller's style for decades to come. Baron Erik Fleming, court silversmith to the King of Sweden, taught the attendees the raising or stretching method. This method involved hammering the center of a thick silver disk causing the metal to thin and the edges to rise. The Baron's tutelage inspired Miller to become a pioneer in the free form style.

Few places to exhibit contemporary silver existed at the beginning of Miller's career. Notable exceptions were the Cleveland Museum of Art's May Show and Wichita Art Association's National Decorative Arts and Ceramics Exhibition. Throughout the 1950s and 1960s Miller's work was mostly confined to juried exhibitions. As his reputation grew, museums and institutes sought his pieces for comprehensive exhibitions. Miller had two solo exhibitions, "Holloware by Frederick A. Miller" at the Little Gallery of the Museum of Contemporary Crafts, New York in 1961, and "Featured Object" at the National Museum of American Art in 1989. Locally, Miller displayed over 200 objects in the May Show over the course of thirty years

In the late 1970s, Miller divested his shares in Potter and Mellen and retired from teaching at the Cleveland Institute of Art. He continued to make objects at the home studio he shared with John Paul Miller until his death in 2000.

Scope and Contents note

The Collection of Frederick A. Miller came to the archives through his heirs in 2013, with a deed of gift being signed in 2015. The original organization of the collection was haphazard with no discernable order, mostly it was segregated by media type. The collection contains diverse media including papers, books, photographs, slides, negatives, reel to reel film, VHS, models made of clay or wood, and awards and medals. It is arranged by series, then by subseries, thereafter alphabetical or chronological. Spanning nearly 100 years from circa 1910 to circa 2000, the collection predates Miller's birth and continues on posthumously. It is divided into six series, Art Objects, Personal Papers, Exhibitions, Audio Visual Materials, Ephemera, and Toshiko Takaezu.

Series 1: Art Objects

The Art Object Series contains artifacts used in the fabrication of an object and the documentation of the object in its completed form. The series has been divided into five subseries. Each subseries came to the archives in a somewhat self-segregated manner in which no order existed. The first subseries processed was Images where the processor imposed a categorization by object type. A separation between Jewelry (mostly gold) and all other objects (mostly silver) already existed. From there, subdivisions were enacted to find all images of the specific art objects. Most of the documents relating to jewelry only exist in the Images subseries. The subdivisions of the silver objects: bottles, bowls, candlesticks, other, pitchers, service sets, and utensils were applied in the subsequent processing of the other subseries.

Subseries 1.1 Models and Forms

Models and Forms contains three dimensional objects used in the preparatory process of creating primary objects. The objects are predominantly made from modeling clay, wood, and metal. The most finished models are the four bottles made of plasticine. Following these are models for salt and pepper shakers lathed out of wood. Shapes made of various materials show the precision in designing the handles and feet for objects. Less finished are wood blocks which appear to be studies for the gauge number and shape of disks used at the beginning of the raising method. Also included are two wooden bells and metal disks which seem to have a related purpose. This subseries is arranged primarily by space necessities.

Subseries 1.2 Patterns

This subseries consists of finished drawings often on tag-board or tracing paper and cutouts derived from these drawings used to measure an object's accuracy to a design. In a few instances, mainly the bottles, the cutouts were derived directly from the models. The subseries also includes shapes and gauge numbers for disks used at the beginning of the raising method. Material calculations and time sheets were kept with objects where found. The subseries is arranged alphabetically by object type and thereafter chronologically.

Subseries 1.3 Sketches / Designs

This subseries contains rough sketches made before or after the fabrication of an object. It also includes a rendering, material calculations, and students' technical designs which show the various courses used during the raising method. The sketches on oversize paper appear to be an encyclopedic collection of objects drawn after their fabrication.

Subseries 1.4 Images

Images consist of photographs, slides, and negatives taken of finished objects. This subseries is arranged by type of object thereafter chronologically. Most of the objects are categorized into six groups: jewelry, bottles, bowls, candlesticks, pitchers, and service sets. Fewer objects are grouped into additional types: liturgical, May Show, other and utensils. Aside from the jewelry, the majority of the images are of hollowware and date from the late 1940s to mid-1960s. Most of the images came to the archives without any annotation of title or date. The titles and dates given to the objects derive from cross-referencing the May Show database with May Show photographs. Most of the hollowware images were taken by John Paul Miller, and the May Show photographs are from CMA negatives. Although Frederick Miller created jewelry throughout his career, the images of jewelry were primarily taken during the 1970s and 1980s.

Subseries 1.5 Silver Gelatin Photographs

In the mid-1930s Miller had a brief career as a professional photographer. This subseries is comprised of two photographs taken by Frederick Miller. "Care Free" depicts Mary Windsor Miller, wife of Fred, and "Flower Study" is self-epitomizing. Both prints were accessioned apart from the rest of the collection and were acquired at auction.

Series 2: Personal Papers

Personal Papers has been divided into nine subseries, Baron Erik Fleming, Biographical Materials, Cleveland Institute of Art / Instructional, Correspondence, Film, Lectures, Potter and Mellen, Publications, and Studio.

Subseries 2.1 Baron Erik Fleming

In August 1948 Frederick Miller attended a silversmithing conference sponsored by Handy & Harman and organized by Margaret Craver Withers. Miller would later credit the workshop conducted by Baron Erik Fleming as making "him realize the unlimited possibilities of the medium." This subseries consists of objects collected at or shortly after the workshop as there is no evidence that Baron Fleming and Miller had any contact after 1948. This short subseries is arranged alphabetically with photographs at the end.

Subseries 2.2 Biographical Materials

This subseries predates Miller's birth and continues on posthumously. The subseries is arranged chronologically with the early focus on Miller's maternal side of the family, the Soureks. Also included in the subseries are printouts from ancestry.com detailing Miller's family tree. Images are at the end of the subseries.

Subseries 2.3 Cleveland Institute of Art / Instructional

Miller graduated from the Cleveland Institute of Art in 1940 and began teaching there in 1947. He taught for 30 years before retiring. Most of the material in this brief subseries appears to be referential or instructional packets for students. The little correspondence is administrative in nature.

Subseries 2.4 Correspondence

The bulk of correspondence is mostly with colleagues and former students or institutions seeking to acquire an object. No order existed when the documents came to the archives. While processing, any significant or repeated correspondence was separated into its own file.

Subseries 2.5 Film

In 1967, Frederick Miller and John Paul Miller produced "Raising a Free Form Bottle," a film on the fabrication of one of Miller's silver bottles. This short two-folder subseries involves the addition of sound to the film. One file contains correspondence and contract with the Society of North American Goldsmiths. The second file contains copies of the script, one handwritten and one typed. Copies of the film are in the Audio Visual Materials series.

Subseries 2.6 Lectures

Most of the lectures are untitled and undated. When a date, title, or location could be ascertained the lecture was separated into its own folder. The lectures span topics from general silversmithing techniques and silversmithing throughout history, to problems in contemporary silversmithing.

Subseries 2.7 Potter and Mellen

Frederick Miller and John T. (Jack) Schlundt purchased Potter and Mellen from Horace Potter and Louis Mellen in 1966. The stock purchase plan offers a detailed account of their acquisition of the company, and consequently the 1977 budget shows how Miller divested his shares when he retired. However, the rest of the subseries gives little insight into the company's workings. The correspondence predates Miller's presidency and most of the other documents date from just prior or right after Miller's retirement. In his 1976 interview, Miller states that he never sold his hollowware through Potter and Mellen.

Subseries 2.8 Publications

Publications contain articles written about Miller and ancillary published materials unrelated to other series. The subseries consists mostly of newspaper clippings and magazine journals. Often the entire journal was kept if it contained an article on Miller. The newspaper articles which span from the 1930s to 2000s are the most encompassing, with articles not only on Miller, but also on John Paul Miller, Baron Erik Fleming, and Toshiko Takaezu. Multiple copies of articles suggest several contributors to the clippings. All newspapers were photocopied on acid-free paper and the originals kept.

Subseries 2.9 Studio

The Studio subseries contains the ancillary papers not used directly in the fabrication of objects and demonstrative images of their creation. This subseries is mainly divided into two sections; material catalogs and correspondence, and images of the artist in his studio. Catalogs for precious metals and stones make up the bulk of the material catalogs and correspondence. The artist in his studio contains images of silversmiths crafting objects either in the studio or classroom.

Series 3 Exhibitions

Few places to exhibit contemporary silver existed at the beginning of Miller's career, notable exceptions were the Cleveland Museum of Art's May Show and Wichita Art Association's National Decorative Arts and Ceramics Exhibition. Throughout the 1950s and 1960s, Miller's work was mostly confined to juried exhibitions. As his reputation grew, museums and institutes sought his pieces for comprehensive exhibitions. Only two of Miller's solo exhibitions are documented in this series, "Holloware by Frederick A. Miller" at the Little Gallery of the Museum of Contemporary Crafts, New York in 1961, and "Featured Object" at the National Museum of American Art in 1989. This series contains the correspondence, entry cards, catalogs, and other materials relating to the exhibitions which span over forty years.

Series 4 Audio Visual Materials

The bulk of the audio visual material is copies of the two films in which Miller appeared. In one film, Contemporary Silversmithing: the Stretching Method sponsored by Handy & Harman, Miller demonstrates the making of a sauce boat. John Paul Miller collaborated with Frederick Miller to make the other film, Raising a Free Form Bottle. In 1985, the Society of North American Goldsmiths sponsored the addition of sound to this film. Copies of both these films exist on VHS and 16mm reel to reel. Raising a Free Form Bottle also has a copy on DVD. The subseries contains a home video of an interview and studio tour with both John Paul and Frederick. Additionally, there are artist in his studio films featuring William Bennett, John Marshall, and Toshiko Takaezu.

Series 5 Ephemera

Throughout his career Miller has won accolades for his artistic endeavors. These include the Cleveland Arts Prize presented by the Women's City Club of Cleveland, Horace E Potter Memorial Awards, a couple for exhibitions, and an achievement award. Also included in this series are the artists marks for Potter and Mellen and for Frederick A. Miller.

Series 6 Toshiko Takaezu

Toshiko Takaezu was a ceramicist whose works are in the Smithsonian American Art Museum, the Museum of Fine Arts, Boston, and the Cleveland Museum of Art. Born in Hawaii, Takaezu started her education at the Honolulu Academy of Arts and the University of Hawaii. She continued her studies at the Cranbrook Academy of Arts in Michigan and later went abroad to learn traditional Japanese ceramic techniques. Frederick Miller probably met Toshiko Takaezu sometime between 1957 and 1967 when both were instructors at the Cleveland Institute of Art. In 1967, Takaezu moved to New Jersey to teach at Princeton. This series is primarily a collection of documents from the time after Takaezu left Cleveland. It is comprised of mostly visual materials but also includes some correspondence and publications. Two VHS cassettes on Takaezu are in the Audio Visual Materials series.

Conditions Governing Access note

Open to the public. For more information or to access this collection contact archives staff at archives2@clevelandart.org.

Subject Terms

Cross Reference - Identified Objects

This cross reference serves to identify named objects which have representative pieces across multiple series. Items displayed in exhibitions and publications have been excluded from cross referencing. It is arranged chronologically and thereafter by type of object. The folders are interfiled amongst their perspective series.

Sterling Creamer and Sugar with Ivory Handles, 1949

Images - Box 12 Folder 28/36/37

Studio - Artist in his Studio - "Fred Miller Makes a Silver Bowl by the Stretching Method" Craft Horizons, December 1956 [negatives and photographs] - Box 17 Folder 14

Studio - Artist in his Studio - "Fred Miller Makes a Silver Bowl by the Stretching Method" Craft Horizons, December 1956 [photographs mounted on tagboard] - Oversized Folder

Sterling and Ivory Sauce Boat, 1950

Images Box 11 Folder 21

Audio Visual Materials- Box 19 / Contemporary Silversmithing

Sterling Water Pictcher with Ebony Handle, 1952

Images - Box 12 Folder 3

Patterns - Box 7 Folder 5

Martini Pitcher, Sterling, 14", 1953

Images - Box 12 Folder 4

Patterns - Box 7 Folder 5

Sterling Salt and Pepper with Gold Spouts on Salt Shaker, 1956

Images Box 12 folder 18/25

Models and Forms - Box 5

Sterling Salt and Pepper Shaker, 1957

Images - Box 12 Folder 19/25

Models and Forms - Box 5

Sterling Water Pitcher with Ivory Handle, 10", 1958

Images - Box 12 Folder 7

Patterns - Box 7 Folder 5

Sterling Salt and Pepper Shakers with Enamel Tops, 4 1/2", 1959

Images - Box 12 Folder 20/25

Models and Forms - Box 4

Silver Candlesticks, circa early 1960s

Images - Box 11 Folder 2

Patterns - Box 7 Folder 2

Beverage Pitcher, 1961, Hammered Sterling Silver with Ebony [collection Smithsonian American Art Museum, 1988.71]

Images - Box 12 Folder 9

Patterns - Box 7 Folder 5

Six Sterling and Enamel Candlesticks, 7" - 15", 1963

Images - Box 11 Folder 4

Patterns - Box 7 Folder 2

Sterling and Ebony Nut Dish, 1964

Images - Box 10 Folder 28

Patterns - Box 7 Folder 1

Raised Sterling Bottle with 23K Yellow Gold tapered formed Units, 6 1/2" x 5 1/2", 1966

Images - Box 10 Folder

Models and Forms - Box 1 Folder 1

Patterns - Box 6 Folder 1

Raised Free Form Bottle with 23K Yellow Gold Fragments around Neck, 7" x 5 1/2", 1967

Images - Box 10 Folder 3/6/7

Models and Forms - Box 1 Folder 2

Patterns - Box 6 Folder 3

Bottle [#5], 1967

Audio Visual - Box 19

Images - Box 10 Folder 2/6/7

Models and Forms - Box 2 Folder 1

Patterns - Box 6 Folder 2

Coffee Pot, Creamer and Sugar Bowl - Sterling Silver with Ebony Handles and Finials, 1967

Images - Box 12 Folder 34

Patterns - Box 8 Folder 1

Bottle [#4], 1969

Images - Box 10 Folder 4/6/7

Patterns - Box 6 Folder 4

Bottle [#1], 1971

Images - Box 10 Folder 5/6/7

Models and Forms - Box 2 Folder 2

Patterns - Box 6 Folder 5

Sterling Silver Box with 'Tsuba,' 1985

Images - Box 11 Folder 22/30

Patterns - Box 7 Folder 4

Preferred Citation note

Frederick A. Miller Collection, Cleveland Museum of Art Archives

Processing Information note

Processed by Peter Buettner, July 2015

Detailed List of Collection