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39115 documents - page 1 of 1956

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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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
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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
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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
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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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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
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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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
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Frank K.M. Rehn Galleries records, 1858-1969, bulk 1919-1968
Data Source:
Archives of American Art
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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
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Olive Rush papers, 1879-1967
Olive Rush papers 1879-1967 [Rush, Olive 1873-1966]
Data Source:
Archives of American Art
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Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937

Creator:
Tanner, Henry Ossawa 1859-1937
Tanner, Jessie O. 1873-1925
Tanner, Jesse O. 1903-
Curtis, Atherton
Carpenter, J. S
Taverty, J. J
Grand Central Art Galleries
Subject:
Old American Art Club (Paris, France)
Académie Julian
Physical description:
2.3 linear feet
Type:
Photographs
Collection descriptions
Sketches
Place:
France
Paris
United States
Date:
1860
1860s-1978
bulk 1890-1937
Topic:
African American painters
Expatriate painters
Painters
Art--Economic aspects
Local number:
AAA D306-D307
AAA 3268
AAA 107
AAA 3480
AAA tannhenr
Notes:
Henry Ossawa Tanner (1859-1937) was a painter from Pittsburgh, Pa. He was a painter mainly of biblical scenes. Trained at the Pennsylvania Academy of the Fine Arts, studying with Thomas Eakins (who painted a well-known portrait of him). After the failure of his photographic portrait studio in Atlanta, Ga., Tanner went abroad in 1891; the trip was financed by a Methodist bishop, Joseph Crane Hartzell and his wife. Tanner settled in Paris, France and remained there until his death, barring a brief period during World War I, when Tanner and his family were evacuted to England
Summary:
The papers of the expatriate African American painter Henry Ossawa Tanner measure 2.3 linear feet and date from the 1860s to 1978, with the bulk of the material dating from 1890 to 1937. Found in the papers are scattered biographical, family, and legal materials; twenty-seven folders of correspondence with family, friends, patrons, and galleries; writings and notes by Tanner and others; a small amount of printed material; numerous photographs of Tanner, his studio in Paris and home in Trepied, Normandy, his family, friends, fellow artists, and his artwork. Additional photographs include a circa 1890 shot of Tanner with fellow students at the Académie Julian and another depicting Tanner with members of the American Art Club in Paris, circa 1900. Also found are a few sketches and drawings
Biographical material contains identification documents, awards, family and personal bibles, scattered records of his membership in the Societe Artistique de Picardie and the American Expeditionary Forces, address books, family history, a file concerning a lawsuit against the Bethel A.M.E. Church, and a few records documenting the sale of his artwork. Tanner's personal and professional correspondence is with his wife Jessie, his family, friends, patrons, art galleries, and others. Letters are from various family members, his closest friend Atherton Curtis and his wife Ingeborg, friend J.S. Carpenter who was president of the Des Moines Association of Fine Arts and arranged for sales of Tanner's work in the mid-west, Grand Central Art Galleries in New York, and J.J. Taverty who purchased Tanner's work for the High Museum in Atlanta. Topics of note covered in the correspondence include the sale and exhibition of his artwork and his work for the Red Cross
Writings and Notes by Tanner include two small notebooks, one of which he kept during his travels in Europe and Palestine in 1897. Also found are his scattered loose writings, jottings, and other notes on various subjects, including autobiographical notes. Writings by others include notes and an essay by his wife Jessie, and a manuscript, "The Life and Works of Henry O. Tanner," by his son Jesse. Printed Materials document Tanner's career and other interests through exhibition announcements, news clippings, printed reproductions of artwork, a published autobiographical essay, and other miscellaneous items. The collection includes numerous photographs of Tanner, family and friends, his studio in Paris, his home in Trepied and in Spain, travels, and artwork. Additional photographs include a circa 1890 shot of Tanner with students at the Académie Julian and another depicting Tanner with members of the American Art Club in Paris, circa 1900. Artwork consists of an ink drawing of a Paris studio and pencil sketches by Tanner
Cite as:
Henry Ossawa Tanner papers, 1860s-1978 (bulk 1890-1937). Archives of American Art, Smithsonian Institution
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Henry Ossawa Tanner papers, 1860s-1978, bulk 1890-1937
Henry Ossawa Tanner papers 1860s-1978 [Tanner, Henry Ossawa 1859-1937]
Data Source:
Archives of American Art
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Prentiss Taylor papers, 1885-1991

Creator:
Taylor, Prentiss 1907-1991
Van Vechten, Carl 1880-1964
Field, Rachel 1894-1942
Stein, Gertrude 1874-1946
Pinckney, Josephine 1895-1957
Van Doren, Mark 1894-1972
Toklas, Alice B
Hughes, Langston 1902-1967
Landeck, Armin 1905-
Subject:
Hughes, Langston 1902-1967
Hurston, Zora Neale
Kahlo, Frida
O'Neill, Eugene 1888-1953
Rivera, Diego 1886-1957
Robeson, Paul 1898-1976
Robinson, Bill 1878-1949
Van Vechten, Carl 1880-1964
American University (Washington, D.C.) Fine Arts Dept Faculty
Golden Stair Press
Society of Washington Printmakers (Washington, D.C.)
Physical description:
20.4 linear ft
Type:
Drawings
Collection descriptions
Interviews
Photographs
Prints
Sketchbooks
Scrapbooks
Writings
Place:
Washington (D.C.)
Date:
1885
1885-1991
20th century
Topic:
Lithography
Harlem Renaissance
Art therapy
Art teachers
Painters
Printmakers
Lithographers
Local number:
AAA 1392
AAA 5911-5935
AAA taylpren
Notes:
Prentiss Taylor (1907-1991) was a lithographer and painter from Washington, D.C. Sometimes used pseudonyum Baxter Snark. Studied at the Art Students League and under Charles H. Hawthorne in Provincetown, Mass. During early 1930s, he befriended Carl Van Vechten and collaborated with poet Langston Hughes in publishing booklets relevant to the Harlem Renaissance. Returned to his birthplace, Washington, D.C., in 1935, and widely exhibited his work and associated with many organizations, becoming president of the Society of Washington Printmakers in 1942. Worked as an art therapist at St. Elizabeth's Hospital, 1943-1954 and at Chestnut Lodge, Rockville, Md., 1958-1978. Taught painting at American University, 1955-1975
Summary:
The collection measures 20.4 linear feet, dates from 1885 to 1991 (bulk dates 1908-1986) and documents the career of Harlem Renaissance lithographer, teacher, and painter Prentiss Taylor. The collection consists primarily of subject/correspondence files (circa 16 ft.), reflecting Prentiss' career as a lithographer and painter, his association with figures prominent in the Harlem Renaissance, notably Carl Van Vechten and Langston Hughes, his activities as president of the Society of Washington Printmakers and other art organizations, his work in art therapy treating mental illness, and his teaching position at American University. The subject files contain mostly correspondence, but many include photographs and printed material. Also included are biographical, financial, legal and printed material; several hundred photographs; notes and writings; sketchbooks, drawings and a few prints by Taylor; and scrapbooks dating from 1885-1956
The Langston Hughes files contain photocopies of letters from Hughes, greeting cards, ten original photographs of Hughes, and an autographed card printed with Hughes' poem, The Negro Speaks of Rivers. In addition, there is a contract between Hughes and Taylor, witnessed by Carl Van Vechten, forming the Golden Stair Press, through which many of Hughes' poems were printed with illustrations by Taylor. A rare edition of their first publication, The Negro Mother, is found here. Also found in this file is a 1932 final copy of Scottsboro Limited, another collaborative effort between Taylor and Hughes that focused on a case where nine black youths were falsely accused of raping two white women. The collection contains extensive correspondence about Taylor's lithograph of the same title and the printing of the publication. Other rare Harlem Renaissance publications found within Taylor's papers include Golden Stair Broadsides, Opportunity Journal of Negro Life, The Rebel Poet, and Eight Who Lie in the Death House, several of which were also illustrated by Taylor
Prentiss Taylor's long association with Langston Hughes and other figures of the Harlem Renaissance stemmed from his early friendship with Carl Van Vechten. Taylor's papers contain correspondence with Van Vechten, autographed copies of Van Vechten's booklets, and numerous photographs of notable Harlem Renaissance figures, many taken by Van Vechten, including Zora Neale Hurston, Bill "Bojangles" Robinson, Eugene O'Neill, Diego Rivera and Frida Kahlo, Paul Robeson, and many others. Also found are period photographs of Charleston, South Carolina and Harlem street scenes
95 letters from Rachel Field, 75 letters from Langston Hughes, 3 letters from Armin Landeck, 46 letters from Josephine Pinckney, 1 letter from Gertrude Stein, 7 letters from Alice B. Toklas, 1 postcard from Mark Van Doren, and 25 letters from Carl Van Vechten are photocopies. Originals of the Hughes and Toklas letters are located at the Yale University Library. Location of the remaining original letters are unknown
The Prentiss Taylor papers offer researchers insight into the rich cultural documentation of the Harlem Renaissance and the development of twentieth-century printmaking as an American fine art
Cite as:
Prentiss Taylor papers, 1885-1991. Archives of American Art, Smithsonian Institution
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Prentiss Taylor papers, 1885-1991
Data Source:
Archives of American Art
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[Abbott Handerson Thayer, his home, and studio] [graphic] [ca. 1880-1900]

Subject:
Thayer, Abbott Handerson 1849-1921
Physical description:
6 photographic prints
Type:
Photographs
Date:
1880
ca 1880-1900
Topic:
Artists' studios
Artists' homes
Local number:
AAA 3480
AAA
Notes:
Painter; Dublin, New Hampshire
Summary:
A photograph of Thayer on the porch of his house in Dublin, New Hampshire, and 5 photographs of the exterior of Thayer's house, studio and watertower in Dublin, New Hampshire
Data Source:
Archives of American Art
Visitor Tag(s):

Additional Online Media:

John Steuart Curry and Curry family papers, 1848-1999

Creator:
Curry, John Steuart 1897-1946
Curry, Kathleen 1899-
Physical description:
9.2 linear feet
Type:
Video recordings
Collection descriptions
Photographs
Scrapbooks
Sketches
Interviews
Works of art
Place:
Wisconsin
Date:
1848
1848-1999
Topic:
Art--Study and teaching
Muralists
Painters
Art--Technique
Illustrators
Regionalism in art
Local number:
AAA 164-168
AAA 2746-2748
AAA 2743
AAA 2714
AAA 4574-4576
AAA currjohn
Notes:
John Steuart Curry (1897-1946) was a painter, lithographer, and instructor. Curry worked as WPA muralist and is famous as one of The Regionalists, along with Thomas Hart Benton and Grant Wood. He taught at the University of Wisconsin, Madison, 1936-1946
Summary:
The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 9.2 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented
Biographical Materials include chronologies, biographical narratives, genealogical notes, certificates and awards, and other ephemera related to Curry and his family. Family Correspondence includes the earliest records created by Curry himself, including letters home from art school and from the East Coast during his early career
Correspondence and Project files document mural projects, appearances, gallery relationships, and other activities from the early 1930s until his death in 1946 with correspondence, photographs, clippings, contracts, writings, and other miscellany. Subject files include pictorial reference and research files created by Curry for subjects depicted in his murals and paintings. Curry's writings include essays, lectures, interviews, and notes related to his technical and philosophical approach to art, as well as notes from his various travels, and essays by others about Curry. Personal Business Records contain records of artwork, business transactions, and personal finances
Print Materials include print copies of published artwork by Curry, including magazine illustrations from Curry's early career. Extensive clippings, exhibition catalogs, and a scrapbook created by Curry as a youth are also found. Photographs depict Curry throughout his life in formal portraits, candid snapshots, and publicity photographs, with a significant number of photographs depicting Curry creating and posing with his artwork. The Artwork series contains a few sketches by Curry and seven canvases used for testing art materials. Additional sketches are found in Subject Files and scrapbooks
Estate Papers contain materials dated after Curry's death in 1946 and mainly document the activities of Kathleen Curry in managing her husband's estate from 1946 until her death in 2001. Estate papers contain writings about Curry, correspondence, inventories of artwork, and alphabetical files documenting sales, exhibitions, and other projects
Cite as:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution
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John Steuart Curry and Curry family papers, 1848-1999
Data Source:
Archives of American Art
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John Weatherwax papers relating to Diego Rivera and Frida Kahlo, 1928-1988, bulk 1931-1933

Creator:
Weatherwax, John M (John Martin) 1900-1984
Sinclair, Upton 1878-1968
Rivera, Diego 1886-1957
Kahlo, Frida
Packard, Emmy Lou 1914-
Subject:
Rivera, Diego 1886-1957
Kahlo, Frida
Scheyer, Galka E
Physical description:
0.4 linear ft
Type:
Photographs
Collection descriptions
Place:
California
San Francisco
Date:
1928
1928-1988
bulk 1931-1933
Topic:
Mayas
Mural painting and decoration, American--Foreign influences
Mural painting and decoration, Mexican--Influence
Artists
Hispanic American artists
Local number:
AAA
AAA weatjohn
Notes:
John M. Weatherwax (1900-1984) was a writer from San Francisco, Calif. He met Diego Rivera and Frida Kahlo in 1931 in San Francisco, where Rivera was working on a mural comminssion of the San Francisco Stock Exchange. At the time Weatherwax was working on an English translation of the Mayan story of creation, the Popol Vuh, entitled "Seven Times the Color of Fire" and enlisted Rivera to produce 24 watercolor illustrations for the text
Summary:
This small collection of scattered papers of American writer John Weatherwax (1900-1984) dates from 1928 to 1988 (bulk 1931-1933), and measures 0.4 linear feet
The papers document Weatherwax's relationship with Mexican artists Frida Kahlo and Diego Rivera. In 1931, John Weatherwax approached Rivera to illustrate his English translation of the Mayan story of creation, the Popol Vuh. Rivera agreed and produced twenty-four watercolor illustrations for the text. The papers contain Weatherwax's translation, "Seven Times the Color of Fire," as well as manuscript versions of stories he wrote about Diego Rivera and Frida Kahlo, including one entitled "The Queen of Montgomery Street." Also found are several draft manuscripts of stories concerning Diego Rivera, which include "Diego," "Diego, Galka and Toby," the latter about art dealer Galka Scheyer's visit to Diego Rivera's studio in San Francisco containing references to the Blue Rider exhibition she organized in the early 1930s of the work of the artists collective, the "Blue Four" (Dar Blaue Vier)
Also found within the collection are scattered correspondence, including letters from painter, printmaker, and muralist Emmy Lou Packard concerning Diego and Frida, two telegrams from American novelist Upton Sinclair to John Weatherwax, and a letter from the Russian filmmaker, Sergei Eisenstein, to Rivera introducing Weatherwax; additional manuscripts and notes, printed materials, and photographs
Publications:
For additional information about the Weatherwax papers and the Weatherwax and Rivera collaboration see Lucretia Hoover Giese, "A Collaboration: Diego Rivera, John Weatherwax, and the Popol Vuh," Archives of American Art Journal 39, 3/4 (1999), 2-10
Cite as:
John Weatherwax papers relating to Frida Kahlo and Diego Rivera, 1928-1988, bulk 1931-1933. Archives of American Art, Smithsonian Institution
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John Weatherwax papers relating to Diego Rivera and Frida Kahlo, 1928-1988, bulk 1931-1933
Data Source:
Archives of American Art
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[Robert Frederick Blum exhibition] [graphic]

Subject:
Blum, Robert Frederick 1857-1903
Physical description:
2 photographic prints (on a partial microfilm reel)
Type:
Photographs
Date:
1904
Topic:
Art--Exhibitions
Local number:
AAA 4233
AAA
Notes:
Painter, illustrator, and muralist; New York, N.Y. Worked for Scribner's in 1879. In 1890 he traveled to Japan
Summary:
Two photographs of an exhibition of Blum's work, possibly at the Cincinnati Musuem of Art, ca. 1904-1905
Data Source:
Archives of American Art
Visitor Tag(s):

Additional Online Media:

Oral history interview with Richard Howard Hunt, 1979 Mar. 3

Interviewee:
Hunt, Richard 1935-
Interviewer:
Barrie, Dennis
Physical description:
Sound recordings: 1 sound tape reel ; 5 in
Transcript: 27 p
19 items
Type:
Sound recordings
Interviews
Photographs
Place:
Illinois
Chicago
Date:
1979
1979 Mar 3
Topic:
Art, American
African American artists
Sculptors
Local number:
AAA
AAA hunt79
Notes:
Richard Hunt (1935- ) is a sculptor from Chicago, Ill
Summary:
An interview of Richard Howard Hunt conducted 1979 Mar. 3, by Dennis Barrie for the Archives of American Art. Also included are black and white snapshots of Berrie, Hunt and others, taken at Hunt's Chicago studio, possibly during the interview
Data Source:
Archives of American Art
Visitor Tag(s):

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