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Rose Lamb papers, circa 1870-1961, bulk, circa 1870-1900

Creator:
Lamb, Rose
Fiske, John
Turner, Ross 1847-1915
Hart, Albert Bushnell 1854-1943
Hunt, William Morris 1824-1879
Noyes, Alfred 1880-1958
Pyle, Howard 1853-1911
Ritche, Anne Celia b. 1834
Deland, Margaret Wade Campbell 1857-1945
Woodbury, Charles H (Charles Herbert) 1864-1940
Sterner, Albert 1863-1946
Subject:
Lamb, Rose
Physical description:
0.8 linear ft
Type:
Photographs
Collection descriptions
Sketchbooks
Oil paintings
Charcoal drawings
Watercolor paintings
Place:
Massachusetts
Boston
Date:
1870
circa 1870-1961
bulk circa 1870-1900
Topic:
Art teachers
Portrait painters
Local number:
AAA 3888
AAA 1309
AAA lambrose
Notes:
Rose Lamb (1843-1927) was a portrait painter, Boston, Mass. Around 1876, Lamb began studying with William Morris Hunt and became a highly regarded student of his. Her specialty was children, but gave up painting around 1900 due to illness. Aunt of painter Aimee Lamb
Summary:
The papers of Boston area portrait painter and drawing instructor Rose Lamb date from circa 1870 to 1961, with the bulk of the material dating from circa 1870 to 1900, and measure 0.8 linear feet. The collection contains a diploma; letters from artists, writers, historians, and others, including nine letters from former teacher and friend William Morris Hunt; photographs of unidentified people and artwork by Lamb; and original artwork, including a sketchbook from circa 1870, charcoal drawings, two watercolors, and two oil paintings. Artwork depicts landscapes, children, and other figure studies
Correspondence within the the collection includes 19 letters from artists, such as Albert Sterner, Ross Turner, Howard Pyle, and Charles H. Woodbury; writers Anne Thackeray Ritchie, Margaret Deland, and Alfred Noyes; and historians John Fiske and Albert Bushnell Hart. Also found are nine letters from former teacher and friend William Morris Hunt. Eight of his letters describe in detail his work on the painting of murals in the Capitol building in Albany, New York, and one letter discusses his painting of portraits in North Easton, Massachusetts. Also among the correspondence are four letters to Aimée Lamb, Rose's niece
Cite as:
Rose Lamb papers, circa 1870-1961, bulk circa 1870-1900. Archives of American Art, Smithsonian Institution
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Rose Lamb papers, circa 1870-1961, bulk, circa 1870-1900
Data Source:
Archives of American Art
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Joseph Cornell papers, 1804-1986, bulk 1939-1972

Creator:
Cornell, Joseph
Benton, Elizabeth Cornell
Cornell, Robert
Physical description:
24.5 linear ft
Type:
Photographs
Collection descriptions
Works of art
Place:
New York (State)
New York
United States
Date:
1804
1804-1986
bulk 1939-1972
20th century
Topic:
Sculptors
Assemblage (Art)
Found objects (Art)
Art, Modern
Celebrities
Assemblage artists
Local number:
AAA 1055-1058
AAA cornjose
Notes:
Joseph Cornell (1903-1972) was an assemblagist, collagist, and filmmaker from Flushing, N.Y. Cornell never studied art formally. He became interested in surrealism upon seeing an exhibition at Julien Levy Gallery, 1931; Levy subsequently exhibited Cornell's work. He is most notable for his constructions in small boxes
Summary:
The Joseph Cornell papers measure approximately 24.5 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell
Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen
Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities
Cornell's style of writing in the diaries tends to be stream-of-consciousness with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page
Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors
Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions
The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research)
The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory
Cite as:
Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution
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Joseph Cornell papers, 1804-1986, bulk 1939-1972
Data Source:
Archives of American Art
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John Goffe Rand papers, 1832-1960, bulk 1832-1873

Creator:
Rand, John Goffe 1801-1873
Physical description:
0.2 linear feet
Type:
Photographs
Collection descriptions
Place:
England
London
Date:
1832
1832-1960
bulk 1832-1873
Topic:
Portrait painters
Inventors
Painting--Equipment and supplies
Local number:
AAA
AAA randjohn
Notes:
John Goffe Rand (1801-1873) was a portrait painter from Bedford, N.H. Rand was apprenticed to a cabinet maker as a young man and later became a portrait painter working under Samuel F.B. Morse. In 1834, he traveled to Europe with his wife, Lavinia Brainerd, where he invented the collapsible paint tube. This and other inventions proved to be without financial rewards for Rand and upon his return to America he again took up portraiture again
Summary:
The scattered papers of inventor and portrait painter John Goffe Rand measure 0.2 linear feet and date from circa 1832-1960, bulk 1832-1873. Included are biographical sketches, a will, lists of portraits by Rand, a small amount of correspondence, United States patents for the collapsible paint tube invented by Rand and later improvements, printed materials, a photo, and an example of one of the first paint tubes made in a factory
Biographical Information includes an unpublished biography about Rand, typescripts of an obituary, short biographical sketches, lists of portraits painted by Rand, and a copy of his will. A small amount of correspondence consists of one letter written by Rand in 1864 addressed to his neice and typescripts of letters written by members of Rand's extended family concerning the artist and his works
Subject files document Rand's invention of the collapsible tin artists' paint tube and include two patents from the United States Patent Office dated 1841 and 1844. The 1844 patent was for improvements to the tube. The patent applications contain diagrams and written descriptions of the tube. There are also clippings about the anniversaries of the invention
Additional clippings are about members of the Rand family and a painting by Rand. One photograph depicts Rand's gravesite circa 1930. Artifacts include an example of one of the first collapsible paint tubes made in a factory
Cite as:
John Goffe Rand papers, circa 1832-1960, bulk 1832-1873, Archives of American Art, Smithsonian Institution
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John Goffe Rand papers, 1832-1960, bulk 1832-1873
Data Source:
Archives of American Art
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Daniel Putnam Brinley and Kathrine Sanger Brinley papers, 1879-1984

Creator:
Brinley, Putnam
Brinley, Kathrine Sanger
Blashfield, Edwin Howland 1848-1936
Meiere, M. Hildreth d. 1961
Erskine, John 1879-1951
Euwer, Anthony
Troy, Hugh
Coffin, William A (William Anderson) 1855-1925
Peixotto, Ernest b. 1869
Henri, Robert 1865-1929
Bruce, Edward 1879-1943
Davis, Charles H (Charles Harold) 1856-1933
Gabay, Esperanza
Physical description:
14.3 linear ft
Type:
Works of art
Collection descriptions
Diaries
Photographs
Sketchbooks
Sketches
Poetry
Writings
Place:
United States
Connecticut
New Canaan
Date:
1879
1879-1984
Topic:
Mural painting and decoration
Muralists
Painters
Authors
Local number:
AAA 1427
AAA 1414-1417
AAA 1571-1575
AAA brindani
Notes:
Daniel Putnam Brinley (1879-1963) was an Impressionist and mural painter and a stained glass designer from New Canaan, Conn
Summary:
The papers of painter and muralist Daniel Putnam Brinley and his wife, linguist and writer, Kathrine Sanger Brinley, date from 1879 to 1984 and measure 14.3 linear feet
The Brinleys' careers and lives are documented in biographical materials, as well as extensive correspondence with one another, family, friends, art galleries, organizations, publishers, and others. Also found within the papers are writings by both, including 16 diaries (1 by Daniel Putnam Brinley and the rest by Kathrine), essays, manuscripts, typescripts, notes and notebooks, poetry, and various other writings. There are mural commission files, files for organizations of which the Brinleys were members, financial and legal records, exhibition catalogs, news clippings, and other printed material. Also found are photographs of the Brinleys, family, friends, travels, and artwork, and six sketchbooks and original artwork by Daniel Putnam Brinley
Biographical material consists of biographical sketches and professional summaries for both Daniel Putnam Brinley and Kathrine Sanger Brinley, passports, personal mementos, award certificates, two radio interview transcripts, and military records documenting Daniel Putnam Brinley's service in the American Expeditionary Forces and the Camouflage Corps
The papers contain extensive correspondence (4.6 linear feet) divided into family correspondence and general correspondence. Family correspondence includes letters between Daniel Putnam Brinley and Kathrine Sanger Brinley and with their parents and siblings. General correspondence primarily includes the Brinley's personal correspondence with friends and extended family. These letters discuss travel, mutual acquaintances, social events, and general news. Also found is professional correspondence regarding the exhibition and commission of artwork by Daniel Putnam Brinley and the publication of writings by Kathrine Sanger Brinley. Also discussed in the letters are the Brinleys' participation in art, social, and religious organizations. Correspondence of note is with Edwin Blashfield, Edward Bruce, William A. Coffin, Charles H. Davis, John Erskine, Anthony Euwer, Esperanza Gabay, Robert Henri, Hildreth Meiere, Ernest Peixotto, and Hugh Troy
Writings and notes are by Daniel Putnam Brinley and Kathrine Sanger Brinley. Included among their writings are one diary by Daniel Putnam Brinley, 15 diaries by Kathrine Sanger Brinley, essays, notebooks and notes, manuscripts, and typescripts. Subjects of their writings include essays about religion, poetry, and autobiographical and travel essays. Also found among Daniel Putnam Brinley's writing are lecture notes, fictional stories and plays, essays about art, and historical research for his mural projects
Mural commission files include correspondence, lists, contracts, financial agreements, notes, plans, sketches, and photographs for specific murals. There is extensive documentation on murals Brinley completed for the Metropolitan Life Insurance Company in New York and the Liberty War Memorial in Kansas City Missouri. Organization files document the Brinleys' participation in art and social organizations
Scattered financial and legal records include receipts, account books, leases, estate and power of attorney documents, and records regarding their house and property in New Canaan, Connecticut. Printed material consists of published items documenting the careers, social activities and personal interest of the Brinleys, and includes books, exhibition catalogs and announcements, news clippings, newsletters, and items from their travels abroad
Photographs depict Daniel Putnam Brinley and Kathrine Sanger Brinley, individually and with family and friends, and include photographs of Daniel Putnam Brinley working on mural commissions. Also found are photographs of their travels, their homes, Daniel Putnam Brinley's artwork, and reference photographs for his murals. Artwork in this collection includes six of Daniel Putnam Brinley's sketchbooks, primarily from his travels in Europe and Canada, loose drawings and mural studies, drawings by Albert Sterner and Reinhold Palenske, and a lithograph by John Steuart Curry
Cite as:
Daniel Putnam Brinley and Kathrine Sanger Brinley papers, 1879-1984. Archives of American Art, Smithsonian Institution
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Daniel Putnam Brinley and Kathrine Sanger Brinley papers, 1879-1984
Data Source:
Archives of American Art
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Samuel Wagstaff papers, 1932-1985

Creator:
Wagstaff, Samuel J
Byars, James Lee
Halprin, Anna
Di Suvero, Mark 1933-
De Maria, Walter 1935-
Brecht, George
Flavin, Dan 1933-
Basen, Dan 1939-
Fine, Albert M
James, Charles d. 1978
Newton, Gordon 1948-
Johnson, Philip 1906-2005
Hartigan, Grace
Oldenburg, Claes 1929-
Johnson, Ray 1927-
Manning, Doreen
Manning, Robert
Martin, Agnes 1912-2004
Wilson, Mary F
Saret, Alan 1944-
Roth, Dieter 1930-1998
Reinhardt, Ad 1913-1967
Warhol, Andy 1928-
Tuttle, Richard 1941-
Physical description:
6.2 linear ft
Type:
Photographs
Collection descriptions
Drawings
Place:
United States
New York (State)
New York
Date:
1932
1932-1985
Topic:
Artists
Photographs--Collectors and collecting
Photography
Art dealers
Curators
Art--Collectors and collecting
Art, Modern
Fluxus (Group of artists)
Local number:
AAA 4794-4797
AAA wagssamu
Notes:
Samuel Wagstaff (1921-1987) was an art dealer and curator from New York, N.Y. Formerly a curator of 20th century art at the Wadsworth Atheneum (1961-1968) and at the Detroit Institute of Arts (1968-1971), in 1973 Wagstaff began collecting photographs. He subsequently moved to New York and amassed one of the largest privately held collections, focusing primarily on American, British and French works from the 19th century
Summary:
The Samuel J. Wagstaff papers, circa 1932-1985, comprise 6.2 linear feet of correspondence, writings, miscellaneous records, printed material, and photographs documenting Wagstaff's professional and personal relationships with artists and photographers, his career as an art curator, and his position as an important collector of paintings and photographs
Correspondence with artists and others such as curators, arts organizations, galleries, and museums reflects the diversity of contemporary American art and includes individuals associated with the abstract expressionist, Fluxus, pop, earth, conceptual, and minimalist art movements. Wagstaff's importance as a collector and curator and his generosity to and interest in artists is evident from the large number of invitations to view and critique work, requests for fellowship and grant recommendations, and thank you notes from artists to whom he extended financial or moral support. Among the most prolific correspondents found here are: Dan Basen, George Brecht, James Lee Byars, Walter de Maria, Mark Di Suvero, Albert Fine, Dan Flavin, Ann Halprin, Grace Hartigan, Charles James, Philip Johnson, Ray Johnson, Doreen and Robert Manning, Agnes Martin, Gordon Newton, Claes Oldenberg, Ad Reinhardt, Dieter Rot, Alan Saret, Richard Tuttle, May Wilson, and Andy Warhol
Writings by Wagstaff consist of "Looking at Modern Art" prepared for the Trinity College Reading Program, and an untitled, undated piece about multiplicity in art. Among the writings by other authors are Bruce Bennard's "The Photographer Rediscovered," "Pop Art" by Henry Geldzahler, and "Collecting Photographs" by Bonnie Barrett Stretch
Miscellaneous records are drawings by Bruce Kleinsmith, a print by Harold Paris and artists' resumes. Also included is a costume consisting of a stuffed devil's tail and two red silk caps connected by a long sash, all in a matching red silk bag
Among the printed material are books, exhibition catalogs and prospectuses, periodicals, press releases, reproductions, and a variety of other printed items relating to photography and art
Photographs consist largely of copy prints and a small number of original prints. Also included are a few images of exhibition installations and other miscellaneous subjects. There are no portraits of Samuel J. Wagstaff among the photographs of people. Identified individuals include: Bella Abzug, Peter Allen, Michael Collins, Angela Davis, Candy Darling, Wendell Ford, Joseph Hirshhorn, W. A. Huffman, David Love, Marc Miller, Bettie Ringma, and Andy Warhol
Cite as:
Samuel J. Wagstaff papers, circa 1932-1985. Archives of American Art, Smithsonian Institution
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Samuel Wagstaff papers, 1932-1985
Data Source:
Archives of American Art
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Al Hirschfeld papers, 1931-1983

Creator:
Hirschfeld, Al
Atkinson, Brooks 1894-
Lowe, Charles
Delaney, Beauford 1901-
Brown, John Mason 1900-1969
Chodorov, Edward 1904-1988
Fruse, Roger K
Physical description:
0.9 linear ft
Type:
Sketchbooks
Collection descriptions
Drawings
Sketches
Writings
Photographs
Place:
New York (State)
New York
Japan
Date:
1931
1931-1983
Topic:
Caricaturists
Description and travel
Local number:
AAA
AAA hirsal
Notes:
Al Hirschfeld (1903-2003) was a caricaturist from New York, N.Y
Summary:
The collection measures 0.9 linear feet, dates from 1931-1983, and documents the career of caricaturist Al Hirschfeld. Found within the papers are letters, business records, writings, artwork, printed material, and photographs
Letters are from friends and colleagues, and the celebrities, writiers and other subjects of Hirschfeld's drawings. A small majority of letters are from Brooks Atkinson, John Mason Brown, Edward Chodorov, Beauford Delaney, Roger K. Fruse, and Charles F. Lowe
Business records include a receipt for artwork delivered, a notice of probate on the will of Billy Rose, a loan agreement from the Studio Museum in Harlem for a work by Beauford Delaney, and a contract from The Franklin Library for a portrait of Mencken. Writings by Hirschfeld consist of brief typescripts of film and theater critiques
Artwork consists of a sketchbook of caricatures of theater performers, a sketchbook of images from travel to Japan, loose sketches, and drawings by children inspired by a visit to see Hirschfeld
Also found within the papers are 11 folders of clippings, posters, and miscellaneous printed material. Photographs are of Hirschfeld, his wife, and a drawing
Cite as:
Al Hirschfeld papers, 1931-1983. Archives of American Art, Smithsonian Institution
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Al Hirschfeld papers, 1931-1983
Data Source:
Archives of American Art
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[Gertrude Abercrombie with her painting "Slaughterhouse"] [graphic]

Subject:
Abercrombie, Gertrude 1909-1977
Physical description:
1 photographic print ; b&w; 34 x 24 cm. on board 45 x 36 cm
Type:
Photographs
Place:
Illinois
Chicago
Date:
1945
[ca. 1945]
Topic:
Women painters
Local number:
AAA
Notes:
Painter; Chicago, Illinois
Summary:
Abercrombie in her Chicago house with her painting "Slaughterhouse" (now in the National Museum of American Art, Smithsonian Institution, Washington, D.C.)
Data Source:
Archives of American Art
Visitor Tag(s):

Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983

Creator:
Parsons, Betty
Parsons, Betty
Calder, Alexander 1898-1976
Baker, Adge b. ca. 1890
Bigelow, Larry
Reinhardt, Ad 1913-1967
Congdon, William 1912-
Alloway, Lawrence 1926-1990
Roberts, Colette 1910-
Wakefield Gallery
Betty Parsons Gallery
Mortimer Brandt Gallery (New York, N.Y.)
Subject:
Bess, Forrest 1911-1977
Feeley, Paul 1910-1966
Pollock, Jackson 1912-1956
Pousette-Dart, Richard 1916-1992
Rothko, Mark 1903-1970
Reinhardt, Ad 1913-1967
Stamos, Theodoros 1922-1997
Still, Clyfford 1904-1980
Youngerman, Jack 1926-
George, Thomas 1918-
Reichek, Jesse 1916-
Lipton, Seymour 1903-1986
Newman, Barnett 1905-1970
Lazzari, Pietro 1898-1979
Margo, Boris 1902-1995
Janus, Sidney
Liberman, Alexander 1912-1999
Physical description:
49.6 linear ft
Type:
Sketchbooks
Collection descriptions
Photographs
Interviews
Place:
New York (State)
New York
Date:
1920
circa 1920-1991, bulk 1946-1983
Topic:
Art galleries, Commercial
Abstract expressionism
Art dealers
Sculptors
Painters
Local number:
AAA N/68-62-N/68-74
AAA N/69-105-N/69-106
AAA parsbett
Notes:
Betty Parsons (1900-1982) was an art dealer in New York, N.Y. Parsons was director of the Wakefield Bookshop Gallery, 1940-1944, and director of the contemporary section of the Mortimer Brandt Gallery, 1944-1946. She opened Betty Parsons Gallery in 1946 at 11 E. 57th St., later moving to 24 W. 57th St. Artists represented included many abstract expressionists. For many years Jock Truman was director. The gallery closed in 1983
Summary:
The Betty Parsons Gallery records and personal papers measure 49.6 linear feet and date from 1920 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and provide a comprehensive overview of the activities of an art dealer at the forefront of promoting contemporary American Art in the latter half of the twentieth century. Included is extensive correspondence with artists, galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Additionally, Betty Parsons' personal papers consist of pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection
Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons' close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons' role in promoting Abstract Expressionism and researching individual artists
Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs
Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons' schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers
Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock
Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street
The remainder of the collection consists of Betty Parsons' personal papers which document Parsons' career prior to opening her own gallery, her work as an artist, and her personal art collection
Some information about Parsons' work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery
Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received
Parsons' personal correspondence files reflect how deeply Parsons' life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards
Pocket diaries and engagement calendars, spanning from 1933-1981 (although the 1950s are notably missing) record social engagements, meetings, vacations, and telephone numbers. Also found are three notebooks, and three sketchbooks, two of which are annotated. Writings by others include writings about Betty Parsons or the Betty Parsons' Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics
Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings on topics that presumably captured Parsons' attention
Personal art work records document Betty Parsons' career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations
Betty Parsons private art collection files document Parsons extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons' personal collection to museums and fund raising auctions for several non-profit institutions
Finally, the personal financial records provide information about the Parsons' family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records
Cite as:
Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983. Archives of American Art, Smithsonian Institution
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Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983
Data Source:
Archives of American Art
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James Britton papers, circa 1905-1984, bulk circa 1905-1935

Creator:
Britton, James 1878-1936
Blackfield
Fiske, Gertrude 1878-1961
Higgins, Eugene 1874-1958
Inukai, Kyohei 1913-
Kent, Duncan Scott
Lockman, DeWitt McClellan 1870-1957
Phillips, Duncan 1886-1966
Prendergast, Maurice Brazil 1858-1924
Vonnoh, Robert William 1858-1933
Kelly, Andrew J
Mitchell, Edwin Valentine 1890-1960
Stieglitz, Alfred 1864-1946
Vose, Robert C (Robert Churchill) 1911-1998
Subject:
Arlington Galleries (New York, N.Y.)
Physical description:
2.9 linear feet
Type:
Diaries
Collection descriptions
Photographs
Drafts (documents)
Illustrations
Sketches
Notebooks
Prints
Place:
New York (State)
New York
Connecticut
Date:
1905
circa 1905-1984
bulk circa 1905-1935
20th century
Topic:
Art, Modern
Art critics
Authors
Painters
Local number:
AAA 3647-3651
AAA britjame
Notes:
James Britton (1878-1936) was a critic, painter, woodcut artist, publisher/editor of American Art Review and Opus, and frequent contributor to American Art News. Britton was active in New York and Connecticut. Member of an artist' group known as the Eclectics, charter member of the New Society of American Artists, and founding member of the Connecticut Academy of Fine Arts. He worked mainly as a portrait painter
Summary:
The papers of painter and writer James Britton measure 2.9 linear feet and date from circa 1905-1984, with the bulk of the material dating from circa 1905-1935. The bulk of the papers consist of 49 diaries dating from 1918-1935, plus notebooks of diary excerpts, that chronicle Britton's daily activities and include lists, illustrations, and drafts of correspondence. Additional papers include biographical information compiled by the Britton family; scattered business and financial records; correspondence, including copies of Britton's letters to the editors of the Hartford Courant and the Hartford Times; additional writings and notes that include drafts and manuscripts of an autobiography, drafts of articles for his publication Art Opus, and other writings; sketches and a woodcut print; printed materials, including clippings of his published writings for Art Review International, Book Notes, and Opus; and one photograph of Britton and of works of art
Biographical information consists of a file of photocopied materials prepared by the Britton Family. Scattered business and financial records include papers relating to Britton's auto accident, indexes of letters, illustrated indexes and lists of works of art, miscellaneous invoices and receipts, and file relating to Arlington Gallery
Nine folders of correspondence include letters written to and by Britton along with posthumus materials to his widow, Caroline Britton. Correspondents include artists and friends Gertrude Fiske, Eugene Higgins, Kyonei Inukai, Andrew Kelly, Dewitt McClellan Lockman, Edwin Valentine Mitchell, Maurice Prendergast, Duncan Phillips, Alfred Steiglitz, Robert Vonnoh, and Robert C. Vose
The bulk of the Britton papers consist of his extensive diaries - 49 volumes, plus notebooks of excerpts and detailed indexes. The diaries date from 1918-1935 and detail Britton's daily activities and observations about art figures active in New York and Connecticut, classical music, the Great Depression, Prohibition, the Catholic Church, and politics. In addition, Britton talks of his relationships with his wife and children. The diaries served as a place for Britton to make lists of works of art, portrait subjects, potential clients, etc. Britton also created "Notebooks of Diary Excerpts" and a detailed index of many of the diaries
Additional writings and notes include a handwritten and incomplete typescript of an autobiography, writings for Britton's publication Opus, and miscellaneous writings about art, music and plays. Writings by others include works by Duncan Scott Kent and Blackfield
Artwork includes a print and sketches by Britton, and children's drawings
Printed materials include issues of Britton's Art Review International, Opus, and other publications for which he wrote articles or provided illustration, clippings, exhibition catalogs, and programs
Photographs include one photo of the artist with a painting and photos of works of art
Cite as:
James Britton papers, circa 1905-1984, bulk circa 1905-1935. Archives of American Art, Smithsonian Institution
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James Britton papers, circa 1905-1984, bulk circa 1905-1935
Data Source:
Archives of American Art
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Jean Crotti papers, 1913-1973, bulk 1913-1961

Creator:
Crotti, Jean 1878-1958
Crotti, Andre
Duchamp, Suzanne 1889-1963
Nokache, Armand
Pansaers, Clément 1885-1922
Picabia, Francis 1879-1953
Salmon, André 1881-1969
Villon, Jacques 1875-1963
Waldemar George 1893-
Coudour, Henri
Dufy, Raoul 1877-1953
Gleizes, Albert 1881-1953
Guillaume, Paul 1891-1934
Severini, Gino 1883-1966
Duchamp, Marcel 1887-1968
Cocteau, Jean 1889-1963
Seuphor, Michel 1901-
Matisse, Henri 1869-1954
Pach, Walter 1883-1958
Christian 1895-1969
Renoir, Pierre 1885-1952
Ozenfant, Amédée 1886-1966
Subject:
Blancpain, Paul
Everling, Germaine
Picasso, Pablo 1881-1973
Varese, Louise
Reynolds, Mary 1891-1950
Braque, Georges 1882-1963
Varèse, Edgard 1883-1965
Physical description:
1.7 linear ft
Type:
Photographs
Collection descriptions
Interviews
Poems
Essays
Drawings
Sound recordings
Scrapbooks
Place:
France
Paris
Date:
1913
1913-1973
bulk 1913-1961
Topic:
Painters
Art criticism
Dadaism
Avant-garde (Aesthetics)
Painting--Technique
Local number:
AAA 2394-2395
AAA crotjean
Notes:
Jean Crotti (1878-1958) was a painter who lived and worked in both Paris, France and New York, N.Y
Summary:
The papers of French Dada painter Jean Crotti measure 1.7 linear feet and date from 1913 to 1973, with the bulk of the materials dating from 1913-1961. Among the papers are autobiographical essays, correspondence with friends and family, including many letters from Marcel Duchamp, notes and writings by and about Crotti, printed materials, one scrapbook, drawings by Crotti and others, photographs of Crotti and his family and friends, photographs of artwork, and three audio recordings of interviews with Crotti
Biographical material consists of autobiographical notes and an autobiographical manuscript Ma Vie
Correspondence is with family members and colleagues. Correspondents include his brother Andre, wife Suzanne Duchamp, and other family members. There are eleven folders of correspondence between Suzanne's brother Marcel Duchamp and the Crotti family. A 1918 letter from Duchamp to Crotti is illustrated by Duchamp. Additional letters to Jean Crotti are from Jean Cocteau, Albert Gleizes, Georges Herbiet a.k.a. "Christian", Henri Matisse, Francis Picabia, and Jacques Villon. Three folders of letters from Georges Herbiet a.k.a. "Christian" include references to Francis Picabia and Germaine Everling and discussions of art criticism and Picabia's role in avant-garde art movements. Herbiet also describes a new painting procedure that he claims to have invented using a product that is impervious to acids, water, oil, or alcohol. There is a single letter from Jean Crotti to Pablo Picasso following their meeting in Cannes in which Crotti discusses a design with spheres and includes a sketch of his idea. There are also single letters to Crotti from Raoul Dufy, Walter Pach, and actor Pierre Renoir
Notes and writings include poems, a script, and miscellaneous writings by Crotti concerning his art theories including "Tabu" and gemmail. Writings about Crotti are by miscellaneous authors including writers Waldemar George, Andre Salmon, and artists Armand Nakache, A. Ozenfant, and Michel Seuphor
Art work includes seven folders of drawings and an etching plate by Crotti, 83 drawings by Paul Guillaume, and portrait drawings of Crotti by Henri Coudour and Francis Picabia
A scrapbook contains clippings, a letter from Paul Guillaume and a letter to Elizabeth Crotti from a friend describing a 1932 Jean Crotti exhibition in the Balzac Galleries in New York City, and a typescript "Una Collezione a Parigi" by Gino Severini
Additional printed material includes clippings, exhibition announcements and catalogs for Crotti and others, reproductions of art work, and books Jean Crotti (1930) and Jean Crotti et la Primaut du Spirituel (1959) by Waldemar George
Photographs are of Crotti, his family, friends, colleagues, and art work by Crotti and by Suzanne Duchamp. Of particular interest are photographs of composer Edgard Varese and his wife Louise with Suzanne Duchamp, Jean Crotti, and art advocate Mary Reynolds in 1924, photographs of Crotti and Georges Braque examining a gemmail art work, and photographs of Crotti and Suzanne Duchamp talking with Pablo Picasso at Cannes and at the home of Bertrande Blancpain in 1957
Audio recordings include two phonograph records of interviews with Jean Crotti, including topics "Assignment Switzerland" and "Assignment World." A third phonograph record contains an interview with Mr. and Mrs. Paul Blancpain as well as an additional interview with Crotti
Cite as:
Jean Crotti papers. Archives of American Art, Smithsonian Institution
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Jean Crotti papers, 1913-1973, bulk 1913-1961
Data Source:
Archives of American Art
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Arthur Wesley Dow papers, circa 1826-1978, bulk 1879-1922

Creator:
Dow, Arthur W (Arthur Wesley) 1857-1922
Photographer:
Hess, Herbert A (Herbert Arthur)
Käsebier, Gertrude 1852-1934
Subject:
Kenyon, Henry Rodman 1861-1926
Académie Julian
Ipswich Summer Art School
Physical description:
1.3 linear ft
Type:
Photographs
Collection descriptions
Works of art
Diaries
Place:
Massachusetts
Date:
1826
circa 1826-1978
bulk 1879-1922
Topic:
Art--Study and teaching
Landscape painters
Art educators
Photographers
Printmakers
Local number:
AAA 1208-1209
AAA 1271
AAA 3620
AAA 1079
AAA 1027
AAA 1033-1034
AAA dowarth
Notes:
Arthur Wesley Dow (1857-1922) was a landscape painter, teacher, and printmaker from Ipswich, Mass. and New York, N.Y. Dow taught art at Pratt Institute, 1895-1904, and at Teachers College, Columbia University, 1904-1922. Influenced by Ernest Fenollosa, Dow introduced principles of Japanese art to Americans and made a major impact on art education. Published COMPOSITION 1899 and wrote many other books and articles on art. Max Weber and Georgia O'Keeffe were among his students
Summary:
The collection documents aspects of the life and work of the landscape painter, printmaker, photographer and educator. Papers include correspondence, diaries, writings, lecture notes, clippings, catalogs, ephemera, artwork, and photographs
Correspondence consists of two folders, which contain a few letters from Dow to his family during his stints painting in Brittany and to and from Columbia University's Teachers College, as well as letters from his wife (then fiancée) Minnie Pearson Dow to her mother and friend while she, too, was studying painting abroad. There is also a folder of typescript and handwritten notes on Dow's correspondence, the majority of which is not in this collection, attributed to his biographer, Arthur Warren Johnson. Diaries include travel diaries kept by Dow and his brother Dana F. Dow during their "trip around the world" in 1903-1904
Publications, clippings, exhibition catalogs, announcements for Dow's Ipswich Summer School of Art and a new edition of his book, "Composition: A Series of Exercises in Art Structure for the Use of Students and Teachers" are found within printed materials. Notes and writings include a substantial number of handwritten manuscripts and typescripts of Dow's lectures on art and art history during his tenure as the Dean of Fine Arts at the Teachers College of Columbia University. There are a few examples of works of art, including prints from the Ipswich Prints series, and a pencil sketch of a colonial home, similar to those that appeared in the serial Antiquarian Papers
This collection is particularly rich in vintage prints of Dow portraits as well as family and group photographs, although it does not include any of the artist's landscape cyanotypes. Among the nineteen vintage prints are several platinum prints including a portrait by the renowned Pictorialist photographer Gertrude Käsebier and an atmospheric image of Dow taken at the Grand Canyon by Mrs. Fannie Coburn, the mother of another well-known Pictorialist photographer, Alvin Langdon Coburn
There are also three portraits by Herbert Hess and a photogravure of Dow by Kenneth Alexander that was used in the publication announcement for the second edition of Composition. Group photographs include an albumen print of fellow artist Henry R. Kenyon with Dow in his Ipswich studio, with classmates at the Académie Julian in Paris, and with his own students during a crafts class at his Ipswich Summer Art School. There are also several modern copy prints of vintage photographs from other collections as well as photographs of artworks by Dow and his contemporaries
Additional photographs of Dow, members of his immediate family, group photographs taken at the Académie Julian, Paris, as well as unidentified group photographs, were loaned to the Archives of American Art for microfilming after which they were returned to the lender, Mrs. George N. Wright, of Bernardsville, New Jersey. These photographs can be viewed on microfilm reel 1271
Cite as:
Arthur Wesley Dow papers, circa 1826-1978, bulk 1879-1922. Archives of American Art, Smithsonian Institution
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Arthur Wesley Dow papers, circa 1826-1978, bulk 1879-1922
Data Source:
Archives of American Art
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Palmer C. Hayden papers, 1920-1970

Creator:
Hayden, Palmer C. 1890-1973
Subject:
United States Works Progress Administration
Physical description:
2.4 linear ft
Type:
Photographs
Collection descriptions
Diaries
Sketchbooks
Place:
New York (State)
New York
Date:
1920
1920-1970
Topic:
African American painters
Painters
Local number:
AAA 43-47
AAA haydpalm
Notes:
Palmer C. Hayden (1890-1973) was a painter from New York, N.Y. He was born in Widewater, Va. First art instruction through correspondence courses. Studied 1925 with Asa Grant Randall at the Boothbay Art Colony, Maine, specialized in marine subjects. Lived in France, 1927-1932. Worked in the 1930s for easel painting divisions of federal art programs
Summary:
The papers of African-American painter Palmer C. Hayden date from 1920-1970 and measure 2.4 linear feet. The collection contains biographical material, including 32 diaries documenting Hayden's daily activities, scattered correspondence relating to art sales and Hayden's work for the Works Progress Administration, printed material, 47 sketchbooks compiled over a period of almost forty years, and photographs of Hayden and his artwork
Cite as:
Palmer C. Hayden papers, 1920-1970. Archives of American Art, Smithsonian Institution
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Palmer C. Hayden papers, 1920-1970
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Archives of American Art
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Hugo Gellert papers, 1916-1986

Creator:
Gellert, Hugo 1892-1985
Fast, Howard 1914-
Fiene, Ernest 1894-
Gottlieb, Harry 1895-
Gropper, William 1897-1977
Kent, Rockwell 1882-1971
Evergood, Philip 1901-1973
Lie, Jonas 1880-1940
Gellert, Ernest
Gellert, Lawrence
Derkovits, Gyula 1894-1934
Reisman, Philip 1904-
Refregier, Anton 1905-
Sequenzia, Sofia
Artist's Committee of Action (New York, N.Y.)
Artists Coordination Committee (New York, N.Y.)
Artists for Victory, Inc
National Society of Mural Painters (New York, N.Y.)
Art of Today Gallery (New York, N.Y.)
Hungarian Word, Inc
Committee to Defend V.J. Jerome
American Artists' Congress
Physical description:
6.9 linear ft
Type:
Works of art
Collection descriptions
Photographs
Interviews
Place:
New York (State)
New York
Date:
1916
1916-1986
Topic:
Artists' writings
Politics in art
Graphic artists
Illustrators
Muralists
Authors
Local number:
AAA 2812
AAA gellhugo
Notes:
Hugo Gellert (1892-1985) was a mural painter, graphic artist, designer, cartoonist, illustrator, and writer from New York, N.Y. Born in Budapest, Hungary. Gellert had strong political convictions and believed in the power of collective action and endorsed the formation of a liberal labor party and an artists' union. Book illustrator for "Aesop Said So," 1936, and "Century of the Common Man," 1943. Author of "Karl Marx Capital in Lithographs," 1934
Summary:
The collection documents his career as an artist and organizer for the radical political left through an interview, legal papers, financial records, family papers, artifacts, correspondence, writings, organizational records, extensive printed materials (many of them illustrated by Gellert), photographs, and artwork
Biographical Material includes an audio interview with Gellert; official documents related to memberships, property, and legal matters; financial documents that include bills, receipts, and contracts related to professional activities; papers of Gellert's brothers, Lawrence and Ernest; and artifacts. Correspondence is with other artists, writers, publishers, activists, friends, and family, including Ernest Fiene, Rockwell Kent, Harry Gottlieb, William Gropper, Philip Evergood, Howard Fast, and Jonas Lie. Writings include essays, book projects, notes, and notebooks written by Gellert; and stories and articles by other authors, including typescripts of early twentieth-century Hungarian short stories collected by Gellert
Organizational Records are related to political and art organizations in which Gellert was an active organizer, officer, and in some cases, a founder. Because of his central role in many of these organizations, records often contain unique documentation of their activities. Records are found for the American Artists Congress, the Art of Today Gallery, the Artists Committee of Action, the Artists Coordination Committee, the Artists Council, Artists for Victory, Inc., the Committee to Defend V.J. Jerome, Hungarian Word, Inc., the National Society of Mural Painters, and other organizations
Printed materials include a variety of political publications and periodicals with illustrations by Gellert, including New Masses, Art Front, Magyar Szo, and American Dialog; clippings related to his career, exhibition catalogs, political pamphlets, Hungarian literature, and mass mailings received from political organizations. Photographs contain a few personal photographs but are mostly news and publicity photographs, many of which depict prominent Communists and other newsmakers. Artwork includes sketches, drawings, designs, prints, and production elements for Gellert's artwork, as well as prints and drawings by Philip Reisman, Gyula Derkovits, and Anton Refregier
Cite as:
Hugo Gellert papers, 1916-1986. Archives of American Art, Smithsonian Institution
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Hugo Gellert papers, 1916-1986
Data Source:
Archives of American Art
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ACA Galleries records, 1917-1963

Creator:
ACA Galleries
Soyer, Moses 1899-1974
Young, Art 1866-1943
Burliuk, David 1882-1967
Cahill, Holger 1887-1960
Evergood, Philip 1901-1973
Gropper, William 1897-1977
Gwathmey, Robert 1903-1988
McCausland, Elizabeth 1899-1965
Mumford, Lewis 1895-1990
Olds, Elizabeth 1896-1991
Pickens, Alton
Refregier, Anton 1905-
Soyer, Raphael 1899-1987
Weber, Max 1881-1961
Abbott, Berenice 1898-1991
Valente, Alfredo
Hirsch, Joseph 1910-1981
Baron, Herman 1892-1961
American Contemporary Art Gallery
American Artists' Congress
Photographer:
Newman, Arnold 1918-2006
Subject:
Dondero, George A (George Anthony) 1883-1968
Physical description:
1.0 linear ft
Type:
Photographs
Collection descriptions
Writings
Place:
New York (State)
New York
Date:
1917
1917-1963
Topic:
Art galleries, Commercial
Art, American
Art dealers
Gallery directors
Politics in art
World War, 1914-1918
Local number:
AAA D304
AAA acagall
Notes:
ACA Galleries (est. 1932) is an art gallery in New York, N.Y. Also known as A.C.A. Gallery and American Contemporary Art Gallery. Founded by Herman Baron, Stuart Davis, Yasuo Kuniyoshi, and Adolf Dehn on August 16, 1932 as an outlet for generally unknown and socially conscious artists. It was particularly important during the Depression period when it was closely allied with militant artists' organizations. Currently owned by Jeffrey Bergen
Summary:
The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963, measure 1.0 linear feet, and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Soyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers. The records are a rich resource for documenting the Social Realist artists and the militant socialist artists during the great depression and the post-World War II era of "McCarthyism."
Correspondence with ACA artists consists of letters from Philip Evergood, David Burliuk, William Gropper, Robert Gwathmey, Joseph Hirsch, Lewis Mumford, Elizabeth Olds, Alton Pickens, Moses Soyer, Max Weber, and Art Young. Some of the letters concern the socialist and communist views of some of the artists, including responses to Congressional Representive George A. Dondero's public statements and attacks on modern art as a conspiracy to spread communism in the United States. There is a letter written by Holger Cahill to the editor of Time magazine concerning WPA artists. Also found is a letter from Raphael Soyer written to the ACA Galleries concerning the American Artists' Congress
Writings include Herman Baron's written history of the ACA Galleries and scattered pages of Baron's book on Joe Jones and William Gropper. There are essays and writings by art critic Elizabeth McCausland, and artists Anton Refregier and Philip Evergood. Printed materials consist of ACA publications, newspaper clippings, published articles, printed illustrations by Philip Evergood, and printed materials about Congressman Dondero
Photographs are of David Burliuk, Bruce Calder, Nicolai Cikovsky, Hy Cohen, Robert Cronbach, Alexander Dobkin, Philip Evergood, Mike Gold, Chaim Gross, William Gropper, Joe Jones, Mervin Jules, Irene Rice Pereia, Geri Pine, Philip Reisman, Vic Shifreen, Harry Sternberg, Moses Soyer, Raphael Soyer, James Baare Turnbull, Nicky Walker, Abraham Walkowitz, Nat Werner, and Art Young. Photographers include Berenice Abbott, Arnold Newman, and Alfredo Valente. Additional photographs are of unidentified installations or exhibitions
Herman Baron's personal papers include letters written to his wife and friends during World War I, writings by Baron for various magazines including Glazier's Journal. Personal photographs are of Herman Baron in his army uniform. There is also an obituary for Herman Baron written by art critic Elizabeth McCausland
Cite as:
ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution
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ACA Galleries records, 1917-1963
Data Source:
Archives of American Art
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Aline and Eero Saarinen papers, 1906-1977

Creator:
Saarinen, Aline B (Aline Bernstein) 1914-1972
Saarinen, Eero 1910-1961
Subject:
Saarinen, Eero 1910-1961
White, Stanford 1853-1906
Physical description:
13.5 linear ft
Type:
Photographs
Collection descriptions
Sound recordings
Interviews
Motion pictures (visual works)
Place:
United States
Michigan
Bloomfield Hills
Date:
1906
1906-1977
Topic:
Women architectural critics--Michigan
Women art critics--Michigan
Women art historians--Michigan
Art--Collectors and collecting
Architecture
Architectural historians--Michigan
Architects
Local number:
AAA 2064
AAA 2069-2076
AAA 2084
aaa 1817
AAA saaralin
Notes:
Aline Saarinen (1914-1972) was an art and architectural critic in Bloomfield Hills, Mich.; She worked for the New York Times as an art and architectural critic. She married architect Eero Saarinen, the architect, after the dissolution of her first marriage to Joseph Louchheim. Aline Saarinen was the sister of art dealer Charles Alan. Eero was born in Helinski, Finland, son of architect Eliel Saarinen
Summary:
The Aline and Eero Saarinen papers measure approximately 13.5 linear feet and date from 1906 to 1977. The bulk of the collection consists of Aline Saarinen's papers which document her relationship with her husband Eero Saarinen and other aspects of their personal lives, as well as Aline's work as an art and architectural critic, author, and television correspondent. Papers include research files for published and planned books (in which can be found scattered original letters of Stanford White, John Quinn and Edward Root) and other projects, NBC correspondent files, writings, committee files, correspondence, photographs, printed material, and miscellaneous personal papers
The portion of the collection relating to personal aspects of Aline and Eero Saarinen's lives consists of: Aline Saarinen's diary, guest book, notebooks, personal writings, biographical material, awards and honorary degrees; scattered papers of Eero Saarinen, including biographical material, drawings of furniture designs, various sketches and drawings, and some project timelines and notes; correspondence between Aline and Eero Saarinen (the bulk of which dates from the year they met and married), as well as general and family correspondence received by Aline Saarinen and some miscellaneous and personal correspondence of Eero Saarinen; printed material, mostly clippings, documenting aspects of the life, work, and achievements of both Aline and Eero Saarinen; and photographs, including ones of Aline Saarinen, Eero Saarinen, Aline and Eero Saarinen together, and family members, as well as ones from various trips and of various residences, and various slides
The bulk of the collection consists of material, including research and writing files, NBC correspondent files, and committee files, stemming from Aline Saarinen's various professional activities. Writings include manuscripts, typescripts, notes, notecards, and clippings of Aline Saarinen's various articles, lectures and speeches on art and architecture, scripts for television, creative and college writing. Research files include material for Saarinen's published book on art collectors, The Proud Possessors, and her planned, but never completed, biography of the architect, Stanford White. Research material for The Proud Possessors includes files of notes, manuscripts, correspondence, photographs and printed material on art collectors, and related material such as scrapbooks of correspondence and clippings in response to the book
Files also include scattered original material, such as correspondence and photographs, belonging to the collectors, John Quinn and Edward Root. Research material on Stanford White includes correspondence, notebooks, writings, printed material, photographs, and copies of architectural drawings. Also found is scattered original material belonging to Bessie White, Stanford White, and the firm of McKim, Mead and White. NBC material consists of files, including correspondence, printed material, notes, scripts, motion picture films and video transfers, and photographs, kept by Aline Saarinen while working as a television correspondent. Also found are miscellaneous research files on artists that may relate to television or other projects and files stemming from her involvement in various arts-related and other committees
Cite as:
Aline and Eero Saarinen Papers, 1906-1977. Archives of American Art, Smithsonian Institution
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Aline and Eero Saarinen papers, 1906-1977
Data Source:
Archives of American Art
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John Singer Sargent letters, 1887-1922

Creator:
Sargent, John Singer 1856-1925
Blaney, Edith H
Hunter, Charles Mrs
Marquand, Henry Gurdon 1819-1902
Barrett, Lawrence Louis 1897-1973
Alden, Henry Mills 1836-1919
Loring, Louisa P
Physical description:
107 items (0.2 linear ft.)
Type:
Photographs
Collection descriptions
Place:
England
London
Date:
1887
1887-1922
Topic:
Portrait painters
Art--Commissioning
Art patronage
Local number:
AAA D10
aaa 3471
AAA sargjohn
Notes:
John Singer Sargent (1856-1925) was a portrait painter from London, England. He was born in Florence and educated in Europe. Portrayed members of high society and aristocracy and became one of the most sought after portraitists of his day
Summary:
The John Singer Sargent letters consist of 104 letters dating from 1887 to 1922. The letters provide limited insight into Sargent's later career through letters to commissioned patrons, sitters, and friends and colleagues, and relate to works in progress, replies to social invitations, and other general social news. Many of the letters are written to Mrs. Charles Hunter, an English friend and patron who sat for several portraits. Also found are letters from Sargent to friend Edith Blaney, whose husband was landscape artist Dwight Blaney. Additional scattered letters were written to Henry Mills Alden, Lawrence Barrett, Mrs. Baxter, a Mr. Griffith, Sir George Hunter, Mrs. Jackson, Louisa P. Loring, Henry Gurdon Marquand, Mrs. Pick, Mr. Spizer, and unidentified/illegible recipients. There are two photographs of Sargent
Cite as:
John Singer Sargent letters, 1887-1922. Archives of American Art, Smithsonian Institution
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John Singer Sargent letters, 1887-1922
Data Source:
Archives of American Art
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Jacob Lawrence and Gwendolyn Knight papers, 1945-1995, bulk 1973-1994

Creator:
Lawrence, Jacob 1917-2000
Bearden, Romare 1911-1988
Dintenfass, Terry 1920-
Knight, Gwendolyn
Evergood, Philip 1901-1973
Eichenberg, Fritz 1901-1990
Halpert, Edith Gregor 1900-1970
Bocour, Leonard 1910-1993
Physical description:
9 linear ft
Type:
Photographs
Collection descriptions
Place:
United States
New York (State)
New York
Washington (State)
Seattle
Date:
1945
1945-1995
bulk 1973-1994
20th century
Topic:
Painting, Modern
African American artists
Painters
Local number:
AAA 3042
AAA lawrjaco
Notes:
Jacob Lawrence (1917-2000) was an African-American painter and educator in New York, N.Y. and Seattle, Wash. Born Jacob Armstead Lawrence, September 17, 1917, Atlantic City, N.J. He died June 9, 2000, in Seattle. Worked for the WPA's Federal Art Project and taught at Black Mountain College, in North Carolina, Pratt Institute (1956-1971), Brandeis University (1965), The New School (1966), the Art Students League (1967), the University of Washington, and others
Summary:
More than half of the collection is correspondence with friends, artists, students, school children, art schools, galleries, museums, and others. Also found are writings by Lawrence and others, newsclippings, exhibition catalogs and announcements, press releases, brochures, books, photographs of Lawrence, Knight, and Lawrence's artwork, scattered financial and business records, primarily relating to Lawrence's relationship with the Terry Dintenfass Gallery in New York, and two small lithographs by James Rosenquist
Cite as:
Jacob Lawrence and Gwendolyn Knight papers, 1945-1995. Archives of American Art, Smithsonian Institution
See more items in:
Jacob Lawrence and Gwendolyn Knight papers, 1945-1995, bulk 1973-1994
Data Source:
Archives of American Art
Visitor Tag(s):

Frank K.M. Rehn Galleries records, 1858-1969, bulk 1919-1968

Creator:
Frank K.M. Rehn Galleries
Bartlett, Frederic Clay 1873-1953
Bellows, George 1882-1925
Brook, Alexander 1898-1980
Burchfield, Charles Ephraim 1893-1967
Chappell, Warren 1904-
Clancy, John C. 1897-1981
Coleman, Glenn O. 1887-1932
Cook, Howard Norton 1901-1980
Cuthbert, Virginia 1908-2001
Dasburg, Andrew 1887-1979
Gellatly, John 1853-1931
Hawthorne, Charles Webster 1872-1930
Henri, Robert 1865-1929
Hopper, Edward 1882-1967
Hopper, Jo N (Josephine Nivison) 1883-1968
James, Alexander 1890-1946
Kroll, Leon 1884-1974
Luks, George Benjamin 1867-1933
Mangravite, Peppino 1896-
Marsh, Felicia Meyer 1912 or 3-1978
Marsh, Reginald 1898-1954
McFee, Henry Lee 1886-1953
Melchers, Gari 1860-1932
Orton, J. Robert
Pepper, Charles Hovey 1864-1950
Phillips, Duncan 1886-1966
Poor, Henry Varnum 1887-1970
Russo, Alexander
Spalding, John T
Sparhawk-Jones, Elizabeth 1885-1968
Speicher, Eugene Edward 1883-1962
Spruance, Benton 1904-1967
Strater, Henry 1896-
Tucker, Allen 1866-1939
Tucker, Richard Derby 1903-
Winters, Denny Sonke 1907-1985
Young, Mahonri Mackintosh 1877-1957
Physical description:
21.8 linear ft
Type:
Works of art
Collection descriptions
Photographs
Scrapbooks
Sketchbooks
Place:
New York (State)
New York
Date:
1858
1858-1969
bulk 1919-1968
20th century
Topic:
Art galleries, Commercial
Art, Modern
Gallery owners
Art dealers
Local number:
AAA 5849-5872
AAA NY/59-17 - NY/59-18
AAA D289-D293
AAA 647-653
AAA 2670
AAA 2708
AAA 3814
AAA franrehg
Notes:
Frank K.M. Rehn Galleries (1918-1981) was an art gallery in New York, N.Y. Owned by Frank Knox Morton Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn (1848-1914). John Clancy (1897-1981) was Rehn's long-time assistant who eventually became the gallery director; after Rehn's death he purchased the gallery, which continued to operate under the name Rehn Galleries until 1981
Summary:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting almost the entire history of a highly regarded New York art gallery devoted to American painting
Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence
Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy
Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related
Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings
Cite as:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution
See more items in:
Frank K.M. Rehn Galleries records, 1858-1969, bulk 1919-1968
Data Source:
Archives of American Art
Visitor Tag(s):

Isabel Bishop papers, 1914-1983

Creator:
Bishop, Isabel 1902-1988
Chappell, Warren 1904-
Evergood, Philip 1901-1973
Marsh, Reginald 1898-1954
Van Veen, Stuyvesant
Bacon, Peggy 1895-1987
Arms, John Taylor 1887-1953
Kroll, Leon 1884-1974
Blume, Peter 1906-1992
Neel, Alice 1900-1984
Laning, Edward 1906-
Kitaj, R. B
Leighton, Clare 1899-
Hopper, Jo N (Josephine Nivison) 1883-1968
Ciardi, John 1916-
Dickinson, Edwin Walter 1891-1978
Canaday, John 1907-1985
Kearns, James
Hoffman, Malvina 1887-1966
Folinsbee, John Fulton 1892-1972
Delevante, Sidney 1894-
Brooks, Van Wyck 1886-1963
Schnakenberg, H. E (Henry Ernest) 1892-1970
Zorach, William 1887-1966
Watkins, Franklin Chenault 1894-1972
Soyer, Raphael 1899-1987
Schmidt, Katherine 1898-1978
Tooker, George
Rattner, Abraham
Ferber, Edna 1887-1968
Lattimore, Richmond Alexander 1906-1984
Vonnegut, Kurt
Johnson, Una E
Moore, Marianne 1887-1972
Mumford, Lewis 1895-1990
Porter, Fairfield
Force, Juliana 1876-1948
Deutsch, Babette 1895-1982
Cunningham, Merce
Westcott, Glenway
Subject:
American Society of Painters, Sculptors and Gravers
New Society of Artists (New York, N.Y.)
Physical description:
2.6 linear ft
Type:
Illustrated letters
Collection descriptions
Sketches
Sketchbooks
Photographs
Watercolors
Prints
Place:
New York (State)
New York
Date:
1914
1914-1983
Topic:
Women painters
Painters
Realism in art
Local number:
AAA D283
AAA D359
AAA NY/59-4 - NY/59-5
AAA 2
AAA 64
AAA 100
aaa 4983
AAA bishisab
Notes:
Isabel Bishop (1902-1988) was a painter from New York, N.Y
Summary:
The collection documents Bishop's painting career, her friendship with other artists, and her participation in several arts organizations. There are scattered biographical documents, correspondence with fellow artists such as Peggy Bacon, Warren Chappell, Edward Laning, and R. B. Kitaj, and with writers, curators, museums, galleries, arts organizations, and others. Also found are arts organization files, Bishop's writings about Warren Chappell and friend Reginald Marsh, notes, exhibition catalogs, news clippings, and other printed material, photographs of Bishop and her artwork, and photographs of Reginald and Felicia Marsh. Original artwork includes 8 sketchbooks, loose sketches, prints, and watercolor figure studies
Bishop was friends with many artists and cultural figures and her correspondence includes letters to and from artists such as John Taylor Arms, Peggy Bacon, Peter Blume, Warren Chappell (many letters from Chappell are illustrated), Sidney Delevante, Edwin Dickinson, Philip Evergood, John Folinsbee, Malvina Hoffman, Jo Hopper, James Kearns, Leon Kroll, Clare Leighton, Jack Levine, Alice Neel, Hobson Pittman, Fairfield Porter, Abraham Rattner, Katherine Schmidt, Henry Schnakenberg, Raphael Soyer, George Tooker, Stuyvesant Van Veen, Franklin Watkins, Mahonri Young, and William Zorach. Bishop not only corresponded with artists but also many poets, authors, historians, and dancers, such as Van Wyck Brooks, John Canaday, John Ciardi, Merce Cunningham, Babette Deutsch, Edna Ferber, Richmond Lattimore, Marianne Moore, Lewis Mumford, Kurt Vonnegut, and Glenway Westcott. Also found are letters from many galleries, museums, and schools which exhibited or purchased her work, including curators Juliana Force and Una Johnson
Bishop kept files from her affiliations with the American Society of Painters, Sculptors, and Gravers and the New Society of Artists, containing mostly membership and financial records, and a file on a UNESCO conference. Unfortunately, files documenting her membership and vice presidency of the National Institute of Arts & Letters are not found here
A small amount of Bishop's writings and notes include essays about friends and artists Reginald Marsh and Warren Chappell. Printed material consists of exhibition catalogs and announcements, news clippings, magazines, and a design by G. Alan Chidsey for a book about Bishop. Photographs depict Bishop with her husband and in her studio, her artwork, and also include three photographs of her friend, Reginald Marsh
Original artwork includes eight small sketchbooks, loose pen and ink sketches, intaglio prints, watercolor figure studies, and a drawing of Bishop by Aaron Bohrod
Cite as:
Isabel Bishop papers, 1914-1983. Archives of American Art, Smithsonian Institution
See more items in:
Isabel Bishop papers, 1914-1983
Data Source:
Archives of American Art
Visitor Tag(s):

Olive Rush papers, 1879-1967

Creator:
Rush, Olive 1873-1966
Subject:
United States Dept. of the Treasury Section of Fine Arts
Physical description:
5.7 linear ft
Type:
Diaries
Collection descriptions
Photographs
Sketches
Place:
New Mexico
Sante Fe
Santa Fe
Date:
1879
1879-1967
20th century
Topic:
Mural painting and decoration
Women painters
American Indians in art
Art and state
Painters
Illustrators
Muralists
Local number:
AAA SW4
AAA 847
AAA 1627-1632
aaa 1817
AAA
AAA rusholiv
Notes:
Olive Rush (1873-1966) was a painter, illustrator, and muralist from Sante Fe, N.M. Studied at the Art Students League with Twatchman and Mowbray and the Howard Pyle School. Muralist for the La Fonda Hotel and Public Library, Sante Fe; WPA murals: United States Post Office, Florence, Colo. and Pawhuska, Okla. Illustrator for Collier's, & Scribners. Specialities: women, children, American Indians, frescos
Summary:
The records of Olive Rush measure 5.7 linear feet and date from 1879 to 1967. They contain correspondence, artwork, photographs, writings, and other personal papers documenting Rush's education and career as an illustrator, portraitist, muralist, painter, teacher, and promoter of Native American art
Biographical materials include several narratives written by Rush and others, as well as a few items related to Delaware artist Ethel Pennewill Brown Leach, Rush's close friend and colleague. Correspondence spans Rush's education and career, and documents her early career in illustration, purchases and exhibitions of her work, her efforts to secure exhibitions for Native American artists, and her dealings with administrators of Federal Art Projects of the 1930s
Writings include diaries from Rush's early years, including an especially detailed diary from her Santa Fe Indian School mural project in 1932. Also found are lectures, talks, essays, notebooks with technical experiments and aesthetic ideas, and loose notes for her FAP project at the New Mexico College of Agricultural and Mechanical Arts
Records of Rush's artwork include two record books, receipts for supplies and shipments, price lists, inventories, records of submissions, and a small number of similar records of artwork by Native American artists. Sketchbooks, loose sketches, and drawings by Rush span her entire career and include many studies and proposed designs for murals and frescoes
Printed Materials consist of exhibition catalogs, clippings, and reproductions of artwork, especially illustration work from Rush's early career. Photographs include a class photograph from the Corcoran School of Art circa 1890 and many of Rush and her fellow artists in Wilmington, Del. from around 1904 to 1910. Photographs of works of art document Rush's murals and frescoes in private homes, businesses, and public buildings
Cite as:
Olive Rush papers, 1879-1967. Archives of American Art, Smithsonian Institution
See more items in:
Olive Rush papers, 1879-1967
Olive Rush papers 1879-1967 [Rush, Olive 1873-1966]
Data Source:
Archives of American Art
Visitor Tag(s):

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