Smithsonian Institution

Search Results

Collections Search Center
38652 documents - page 1 of 1933

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
See more items in:
Rose Lamb papers, circa 1870-1961, bulk, circa 1870-1900
Data Source:
Archives of American Art
Visitor Tag(s):

Charles Scribner's Sons Art Reference Dept. records, 1839-1962

Creator:
Charles Scribner's Sons
Physical description:
7.0 linear ft
Type:
Works of art
Collection descriptions
Photographs
Sketches
Date:
1839
1839-1962
Topic:
Photographers
Portraits
Publishers and publishing
American literature
Local number:
AAA charscrs
Notes:
Charles Scribner (1821-1871) was a partner in the publishing firm of Baker & Scribner, 1846-1871, and carried on alone after Baker's death in 1850. Scribner formed Scribner & Welford in 1857. Charles Scribner's Sons was established in 1870, the same year SCRIBNER'S MONTHLY began. His son Charles, 1854-1930, became president of the company in 1875. He began SCRIBNER'S MAGAZINE in 1887. It ceased publication in 1930. His son Charles, 1890-1952, became company president in 1932
Summary:
The incomplete records of the Charles Scribner's Sons Art Reference Department measure 7.0 linear feet and date from 1839 to 1962, and include original art works, photographs, scattered letters, and miscellaneous printed material reflecting the portraiture and other illustration work completed in support of the wide range of books, magazines and publications by Charles Scribner's Sons over the company's long history
Cite as:
Charles Scribner's Sons Art Reference Department records, 1839-1962. Archives of American Art, Smithsonian Institution
See more items in:
Charles Scribner's Sons Art Reference Dept. records, 1839-1962
Data Source:
Archives of American Art
Visitor Tag(s):

Oscar Bluemner papers, 1886-1939, 1960

Creator:
Bluemner, Oscar 1867-1938
Rothbart, Albert
Stieglitz, Alfred 1864-1946
Liebman, Aline Meyer 1879-1966
Of, George F (George Ferdinand) b. 1876
Vogelstein, Ludwig 1871-1934
Friedman, Arnold 1874-1946
Hirsch, Stefan 1899-1964
Bourgeois, Stephan 1881-1964
Bruce, Edward 1879-1943
Fiene, Ernest 1894-
Lewisohn, Margaret
Hochschild, Walter
Physical description:
6.6 linear ft
Type:
Diaries
Collection descriptions
Works of art
Photographs
Sketches
Writings
Place:
New York (State)
New York
Date:
1886
1886-1939, 1960
Topic:
Architects
Art--History
Art--Philosophy
Art, Chinese
Art criticism
Painting--Technique
Painters
Art, Japanese
Local number:
AAA 338-344
AAA N737
AAA blueosca
Notes:
Oscar Bluemner (1867-1938) was a painter from South Braintree, Mass. and Germany. Born in Germany and trained as an architect. Became a painter and moved to the United States in 1892. Became associated with the group of advanced artists associated with Alfred Stieglitz
Summary:
Correspondence, printed materials, exhibition catalogs, painting diaries, sketches, notes on painting, and photographs
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.6 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings
Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein
Bluemner's extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries, 1911-1936, contain Bluemner's handwritten notes about newly-completed paintings and current work, amounting to a fairly complete record of work done during this period, including many sketches, color schemes, and information about his materials and techniques. The entries, although not daily, are extensive and extremely detailed. He writes of his philosophy of art, aesthetics, critics, his ideas on color and composition, influences on his thoughts, the role of the artist, the need for the artist to remain independent and uninfluenced by criticism, the work of other artists, contemporary art, exhibitions, etc. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting
Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed
Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives
Additional Oscar Bluemner papers were loaned by James Graham & Sons, Inc. in 1968 for microfilming. Loaned material is available on reel N737 but is not described in this finding aid
Cite as:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution
See more items in:
Oscar Bluemner papers, 1886-1939, 1960
Data Source:
Archives of American Art
Visitor Tag(s):

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
See more items in:
Joseph Cornell papers, 1804-1986, bulk 1939-1972
Data Source:
Archives of American Art
Visitor Tag(s):

Thomas Anshutz papers, circa 1870-1942

Creator:
Anshutz, Thomas Pollock 1851-1912
Subject:
Eakins, Thomas 1844-1916
Pennsylvania Academy of the Fine Arts
Philadelphia Sketch Club
Physical description:
2.8 linear ft
Type:
Photographs
Collection descriptions
Glass negatives
Place:
Pennsylvania
Philadelphia
Date:
1870
circa 1870-1942
Topic:
Photography
Art, American
Painters
Local number:
AAA 140
AAA 795
AAA 1874
AAA 1882
AAA anshthom
Notes:
Thomas Pollock Anshutz (1851-1912) was a painter, photographer, and art instructor from Philadelphia, Penn
Summary:
The papers document Anshutz's education and career as a painter, photographer, and art instructor. The collection is particularly rich in photographs made between approximately 1880 and 1900, when Anshutz and others at the Pennsylvania Academy of the Fine Arts, under the direction of Thomas Eakins (1844-1916), began using photography as an aid in the study of the figure and as studies for paintings. Also found are correspondence, a notebook with scattered sketches, a handful of clippings regarding Anshutz's career, and scattered notes and printed materials
Photographs include vintage, original prints that were made during the period when Anshutz worked closely with Thomas Eakins, between 1880 and 1886, consisting of portraits, figure studies both nude and clothed, and class groups both posed and informal. Among the nude photographs are pastoral figure studies with Eakins himself as the model. This collection does not include any of the photographs from Eakins' so-called "Naked Series," although a triptych of three figure studies of Eadweard Muybridge closely resembles photographs from that series. Prints from this period are small in size and are probably original contact prints
Also found are 49 glass negatives and 3 prints that Thomas Anshutz likely made in the 1890s, mostly of figures and marine subjects, many of which were used in his paintings of that period. Additional unattributed photographs of similar subjects are also found, as well as professional studio portraits of Eakins and others, and a handful of photographs that seem to have been made at a later time and kept by the family, which depict Anshutz, his studio, the Philadelphia Sketch Club, and Anshutz's artwork
Various scholars and curators, including staff at the Archives, have attempted to identify and attribute photographs in this collection, most of which bear no identifying marks. Particular attention has been paid to the question of which of the photos may have been taken by Thomas Eakins. Because the information they provided is often inconsistent with published sources, and because no sources were given for information not found elsewhere, these attempts at identification have not been included in this finding aid. Dates and attributions made in this finding aid are taken from scholarly and curatorial publications that have based their information on primary sources, including Eakins and the Photograph (1994) by Susan Danly and Cheryl Leibold; Thomas Eakins (2002), catalog to the exhibition Thomas Eakins: American Realist at the Philadelphia Museum of Art, especially the chronology by Kathleen Brown; The Photography of Thomas Eakins (1972) by Gordon Hendricks; and Thomas Anshutz: Artist and Teacher (1994) by Randall C. Griffin
Cite as:
Thomas Anshutz papers, circa 1870-1942. Archives of American Art, Smithsonian Institution
See more items in:
Thomas Anshutz papers, circa 1870-1942
Data Source:
Archives of American Art
Visitor Tag(s):

Peggy Bacon papers, 1893-1973, bulk 1900-1936

Creator:
Bacon, Peggy 1895-1987
Brook, Alexander 1898-1980
Bunner, Rudolph Francis
Lay, Charles Downing 1877-1956
Remsen, Ira 1846-1927
Alder, Jules
Bacon, Charles Roswell 1868-1913
Hopper, Jo N (Josephine Nivison) 1883-1968
Schmidt, Katherine 1898-1978
Kraushaar Galleries
Subject:
Art Students League (New York, N.Y.) Students
Physical description:
4.0 linear feet
Type:
Photographs
Collection descriptions
Works of art
Drawings
Date:
1893
1893-1973
bulk 1900-1936
Topic:
Art--Study and teaching
Women artists
Local number:
AAA 892-899
AAA
AAA bacopegg
Notes:
Peggy Bacon (1895-1987) was a printmaker, painter, caricaturist, illustrator, poet, and writer (of childrens' books) from Cape Porpoise, Me. Peggy Bacon was born Margaret Frances Bacon on May 2, 1895. She grew up in Ridgefield, Conn. and studied at the Art Students' League. Bacon was married to painter Alexander Brook. She died January 3, 1987
Summary:
The papers of printmaker, illustrator, caricaturist, and writer Peggy Bacon measure 3.6 linear feet and date from 1893 to 1973, with the bulk of materials dating from 1900 to 1936. Much of the collection consists of family correspondence, although writings, photographs, artwork, and personal business records from Bacon's late career are also found
Correspondence is found between Peggy Bacon and her parents, Elizabeth and Charles Roswell Bacon. Letters to her mother describe in detail her life as an art student and artist at the Art Students League; summer schools in Port Jefferson, Long Island and Provincetown, Mass.; the Woodstock artists' colony; and her early years in New York City. Letters from her husband, Alexander Brook, to her mother are also present. Letters to Bacon include letters from her early teacher Jonas Lie, and from friends and fellow artists Catherine Wiley, Dorothy Varian, Katherine Schmidt, Anne Rector Duffy, and others. Her parents' extensive correspondence includes letters to her father from the artists Jules Adler, Rudolph Bunner, Ira Remsen, and Charles Downing Lay
The collection also contains Peggy Bacon's school reports and writing assignments, a marriage certificate, scattered poetry manuscripts and notes by Peggy Bacon, and fiction manuscripts by Charles Roswell Bacon. Personal business records date from the 1960s and 1970s and include publisher's royalty statements, gallery sales statements, and scattered business correspondence with Antoinette Kraushaar and other staff at the Kraushaar Galleries. Photographs depict Bacon and her family, friends, homes, and works of art. Artwork includes several original drawings and sketches by Bacon, as well as artwork by Alexander Brook, Charles Roswell Bacon, and others
14 pencil and charcoal on paper include caricature drawings by Bacon, some presumably studies for the publication Off With Their Heads, including likenesses of: Childe Hassam, John Carroll, Louise Hellstrom, Stuart David, Reginald Marsh, Katehrine Schmidt, Peter Platt, Conrad Kramer, Edith Halpert, Forbes Watson, Arnold Blanch, Bernard Karfiol, Valentine Dudensing and Sam Halpert
Cite as:
Peggy Bacon papers, 1890-1973. Smithsonian Institution, Archives of American Art
See more items in:
Peggy Bacon papers, 1893-1973, bulk 1900-1936
Data Source:
Archives of American Art
Visitor Tag(s):

Romare Bearden papers, 1937-1982

Creator:
Bearden, Romare 1911-1988
Alston, Charles Henry 1907-1977
Reinhardt, Ad 1913-1967
Holty, Carl 1900-1973
Lawrence, Jacob 1917-2000
Middleton, Samuel M. 1927-
Black Academy of Arts and Letters
Physical description:
2.0 linear ft
Loan: 279 items (on partial microfilm reel)
Type:
Works of art
Collection descriptions
Photographs
Sketches
Drawings
Place:
New York (State)
New York
Date:
1937
1937-1982
Topic:
Painting
African American painters
Painters
African American artists
Local number:
AAA N/68-87
AAA bearroma
Notes:
Romare Bearden (1911-1988) was an African-American painter from New York, N.Y
Summary:
The papers of Romare Bearden measure two linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material
Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding
Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden
The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements
See more items in:
Romare Bearden papers, 1937-1982
Data Source:
Archives of American Art
Visitor Tag(s):

Cecilia Beaux papers, 1863-1968

Creator:
Beaux, Cecilia 1855-1942
Andrew, A. Piatt (Abram Piatt) 1873-1936
Physical description:
3.3 linfear ft
Type:
Photographs
Collection descriptions
Diaries
Poems
Place:
Pennsylvania
Philadelphia
Date:
1863
1863-1968
Topic:
Art--Study and teaching
Painting, American
Women painters
Art--Economic aspects
Women artists
Local number:
AAA N/68-48-N/68-49
AAA 426-429
AAA 1329
AAA 3425
AAA 4909
AAA beauceci
Notes:
Cecilia Beaux (1855-1942) was a painter and art instructor from Philadelphia, Pa. Studied in Europe and the Pennsylvania Academy of the Fine Arts, where she later taught
Summary:
Papers document her education, career and personal life through family and professional correspondence, twelve diaries, lectures, essays, poems, notes, clippings, catalogs, pamphlets, exhibition records, business records, photographs, certificates, diplomas, and artifacts
Biographical Materials include autobiographical notes written by Beaux, published biographical essays, and articles about Beaux. A lengthy correspondence from Beaux to her friend A. Piatt Andrew of Massachusetts is found, as well as correspondence with family and professional associates. Lengthy letters from Beaux to her family during trips to Europe contain scattered illustrations. Professional correspondents include other artists, teachers, patrons, critics, curators, dealers, and writers
Writings include one early diary from the 1870s, and a series of eleven additional diaries dating from 1905 to 1913, which record daily activities related to her artwork and personal life. Numerous lectures and essays from her later career are found, often in multiple drafts, as are manuscripts of published and unpublished poems by Beaux. A single sketch, a study for a portrait, is also found
A floor plan, lists of paintings, receipts, written bids, and other notes document the exhibition and sale of Beaux's artwork. Printed materials related to her career include exhibition catalogs and other ephemera, a scrapbook of primarily clippings related to her early career, and loose clippings related to her later career. Photographs include formal portraits of Cecilia Beaux and informal photographs of Beaux alone and with colleagues, friends, and family members in various settings including Concarneau, Pittsburgh, Philadelphia, Gloucester, and Malines, Belgium. Also found is a photograph of John Singer Sargent painting
A sketchbook of Beaux's was loaned by Jeffrey R. Brown Fine Arts of Boston in 1985 and is available on microfilm reel 3425
Cite as:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution
See more items in:
Cecilia Beaux papers, 1863-1968
Data Source:
Archives of American Art
Visitor Tag(s):

Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920

Creator:
Gilder, Dorothea
Beaux, Cecilia 1855-1942
Physical description:
0.6 linear ft
Type:
Photographs
Collection descriptions
Place:
Pennsylvania
Philadelphia
Date:
1897
1897-1920
Topic:
Women painters
Painting
Local number:
AAA 600
AAA 2786
AAA gilddoro
Notes:
Dorothea Gilder was the daughter of Richard Watson Gilder and Helena De Kay Gilder and lived in New York. Cecilia Beaux was a painter and art instructor. She studied at the Pennsylvania Academy of the Fine Arts where she later taught
Summary:
The Dorothea Gilder papers regarding Cecilia Beaux date from 1897 to 1920 and include correspondence between Beaux and Gilder, scattered printed materials, a photograph of Beaux with Gilder, and a photograph of the two with other friends. The papers are comprised primarily of correspondence between Cecilia Beaux and her close, life-long friend and intimate companion, Dorothea Gilder, between 1897 and 1920. The letters recount daily activities, travels, work, social life, attitudes, and aspects of their intimate relationship. Also found is scattered third party correspondence. Two folders of printed materials include newspaper reviews of Beaux's 1903 exhibition, and four exhibition catalogs, several of which are not found in the papers of Cecilia Beaux. The photograph is a single snapshot of Beaux with Gilder. One additional photograph of Beaux, Gilder, and friends is found attached to a 1906 letter
Cite as:
Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920. Archives of American Art, Smithsonian Institution
See more items in:
Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920
Data Source:
Archives of American Art
Visitor Tag(s):

Holger Cahill papers, 1910-1993, bulk 1910-1960

Creator:
Cahill, Holger 1887-1960
Halpert, Edith Gregor 1900-1970
Miller, Dorothy Canning 1904-2003
Morris, Carl 1911-1993
Speck, Walter 1895-
Abbott, Berenice 1898-1991
Federal Art Project (U.S.)
United States Works Progress Administration
United States Work Projects Administration
New York World's Fair (1939-1940)
Subject:
Brown, Samuel Joseph 1907-
De Rivera, José Ruiz 1904-1985
Hopkins, Harry Lloyd 1890-1946
Knaths, Karl 1891-1971
Olds, Elizabeth 1896-1991
Roosevelt, Eleanor 1884-1962
Rowan, Edward Beatty 1898-1946
Scaravaglione, Concetta 1900-1975
Segal, George 1924-2000
Ward, Lynd 1905-
Weisenborn, Rudolph b. 1881
American Council of Learned Societies
American Federation of Arts
Artists' Union (New York, N.Y.)
Cartoonists Guild
The Design Laboratory (New York, N.Y.)
Federal Art Project (U.S.)
Federal Music Project (U.S.)
Federal Theatre Project (U.S.)
Index of American Design
Shakers
Treasury Relief Art Project
American Artists' Congress
Physical description:
16.0 linear ft
Type:
Drawings
Collection descriptions
Government records
Interviews
Photographs
Photograph albums
Prints
Scrapbooks
Slides (photographs)
Place:
United States
Date:
1910
1910-1993
bulk 1910-1960
1918-1945
1933-1945
Topic:
New Deal, 1933-1939
Federal aid to the arts
Federal aid to the public welfare
Art and state
Arts administrators
Public officers
Economic conditions
Social conditions
Local number:
AAA NDA 15
AAA 1105-1110
AAA 3482
aaa 5285-5299
AAA cahiholg
Notes:
Holger Cahill (1887-1960 )was the National Director, Federal Art Project (FAP); New York, N.Y. Born Sveinn Kristjan Bjarnarson in St. Paul, Minn., of Icelandic-born parents, he took the name Edgar Holger Cahill around 1919, while working as a newspaper reporter. After working at the Newark Museum (1922-1931) and at the Museum of Modern Art (1932-1935), Cahill was appointed national director of the WPA Federal Art Project. He married Dorothy Canning Miller, his second wife, in 1938. The FAP fell under the jurisdiction of Federal project No. 1 of the Works Progress Administration (WPA) to aid unemployed artists. Cahill was director of the FAP for its entire existence (1935-1943)
Summary:
The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the Works Progress/Projects Administration's (WPA) Federal Art Project (FAP) in addition to series documenting his work as a writer and art critic. Material includes correspondence, reports, artist files, scrapbooks, printed material, and photographs
Cite as:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution
See more items in:
Holger Cahill papers, 1910-1993, bulk 1910-1960
Data Source:
Archives of American Art
Visitor Tag(s):

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
See more items in:
John Goffe Rand papers, 1832-1960, bulk 1832-1873
Data Source:
Archives of American Art
Visitor Tag(s):

Ernest Blumenschein papers, 1873-1964

Creator:
Blumenschein, Ernest Leonard 1874-1960
Blumenschein, Helen G (Helen Greene)
Blumenschein, Mary Greene
Gilbert, Cass 1859-1934
Glackens, William J. 1870-1938
Kuhn, Walt 1877-1949
Tarkington, Booth 1869-1946
Committee on Public Information
National Academy of Design (U.S.)
Salmagundi Club
Taos Society of Artists
Subject:
Meem, John Gaw 1894-1983
Ufer, Walter 1876-1936
Sharp, Joseph Henry 1859-1953
National Academy of Design (U.S.)
Physical description:
2.1 linear ft
Type:
Photographs
Collection descriptions
Works of art
Writings
Place:
New Mexico
Taos
Date:
1873
1873-1964
Topic:
Painting
Taos school of art
Illustrators
Painters
World War, 1914-1918
Local number:
AAA 269-270
AAA blumerne
Notes:
Ernest Blumenschein (1874-1960) was a painter, illustrator, and violinist in Taos, N.M. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League. In 1892, Ernest Blumenschein traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's. Ernest and his wife, Mary returned ton New York, after the birth of their daughter, Helen; they taught at the Pratt Institute. In 1919, the family moved permanently to Taos. Later, Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony
Summary:
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork
Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials
Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert
Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record
Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest
Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches
Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others
Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions
Cite as:
Ernest Blumenschein papers, 1873-1964. Archives of American Art, Smithsonian Institution
See more items in:
Ernest Blumenschein papers, 1873-1964
Data Source:
Archives of American Art
Visitor Tag(s):

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
See more items in:
Daniel Putnam Brinley and Kathrine Sanger Brinley papers, 1879-1984
Data Source:
Archives of American Art
Visitor Tag(s):

Dennis Miller Bunker papers, 1882-1943, bulk 1882-1890

Creator:
Bunker, Dennis Miller 1861-1890
Subject:
Evans, Joseph
Hardy, Eleanor
Physical description:
0.4 linear ft
Type:
Photographs
Collection descriptions
Place:
New York (State)
New York
Date:
1882
1882-1943
bulk 1882-1890
Topic:
Painting, American
Painters
Art--Study and teaching
Artists' studios
Local number:
AAA 1201
AAA 2773
AAA 1817
AAA bunkdenn
Notes:
Dennis Miller Bunker (1861-1890) was a painter from New York, N.Y. Bunker married Eleanor Hardy in October 1890. He died in December of that year
Summary:
The Dennis Miller Bunker collection of letters, an exhibition catalog, and a few photographs measures 0.4 linear feet and dates from 1882 to 1943, with the bulk of the material dating from 1882 to 1890. Most of the collection consists of letters. Letters dating from 1882 to 1889 are primarily to Bunker's friend Joseph Evans (46 letters) in New York City and discuss work, projects, his dislike of teaching, mutual interests and friends, and other topics. Four volumes of letterpress books, circa 1889-1890, contain letters to Bunker's fiancée Eleanor Hardy prior to their marriage in the fall of 1890, and his untimely death a few months later. There are also a 1943 exhibition catalog and three photographs of Bunker
Cite as:
Dennis Miller Bunker collection, 1882-1943. Archives of American Art, Smithsonian Institution
See more items in:
Dennis Miller Bunker papers, 1882-1943, bulk 1882-1890
Data Source:
Archives of American Art
Visitor Tag(s):

William H. Johnson papers, 1922-1971, bulk 1926-1956

Creator:
Johnson, William H. 1901-1970
Johnson, Holcha Krake 1885-1943
Aden, Alonzo J. 1906-1963
Hughes, Langston 1902-1967
Nierendorf, Karl
Halpert, Edith Gregor 1900-1970
Alma Reed Galleries
Harmon Foundation
Barnett-Aden Gallery
Subject:
Hawthorne, Charles Webster 1872-1930
Physical description:
1.3 linear ft
Type:
Photographs
Collection descriptions
Scrapbooks
Place:
New York (State)
New York
Date:
1922
1922-1971
bulk 1926-1956
Topic:
African American artists
Painters
Local number:
AAA 2678
AAA 3829
AAA johnwill
Notes:
William H. Johnson (1901-1970) was a painter, printmaker, typographer, and teacher from New York, N.Y
Summary:
The papers of African American painter William H. Johnson date from 1922 to 1971, with the bulk of the material dating from 1926 to 1956, and measure 1.3 linear feet. The collection documents Johnson's career as an artist in New York and in Europe and his marriage to textile artist Holcha Krake through scattered biographical material, including eight letters regarding the sale and exhibition of his work. Also found are exhibition catalogs, news clippings, other printed material, and photographs of Johnson, Krake, and their artwork. One scrapbook contains news clippings, letters, and additional photographs. Another scrapbook contains travel postcards. Also found are a few scattered records and research notes compiled by the Harmon Foundation regarding William H. Johnson
Scattered biographical material includes biographical sketches, a marriage certificate, award certificates from the National Academy of Design, lists of artwork, and the guestbook from Johnson's 1941 exhibition at the Alma Reed Gallery. Also found are eight letters regarding the sale and exhibition of his work, including a letter from Langston Hughes and two letters from Alonzo Aden of the Barnett Aden Gallery
Printed material consists of exhibition catalogs, U.S. and foreign news clippings, and other materials, primarily published by the Harmon Foundation regarding African American art. Photographs are of Johnson, Johnson with Krake in their studio, Johnson with friends in Provincetown, Massachusetts, and of Johnson's artwork
The collection includes two scrapbooks, one containing news clippings, exhibition materials, letters from Charles Hawthorne, Edith Halpert, Karl Nierendorf, and others, and photographs of Johnson and his artwork. Additional items from the scrapbook may have became detached at an earlier date and included among the material in other series. The second scrapbook contains Johnson's postcard collection from his travels in Europe
Also found are scattered records and research material of the Harmon Foundation regarding William H. Johnson consisting of exhibition panels displaying original photographs of Johnson and his artwork, as well as translations and notes concerning the foreign news clippings found in the William H. Johnson papers
Cite as:
William H. Johnson papers, 1922-1971, bulk 1926-1956. Archives of American Art, Smithsonian Institution
See more items in:
William H. Johnson papers, 1922-1971, bulk 1926-1956
Data Source:
Archives of American Art
Visitor Tag(s):

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
See more items in:
Samuel Wagstaff papers, 1932-1985
Data Source:
Archives of American Art
Visitor Tag(s):

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
See more items in:
Al Hirschfeld papers, 1931-1983
Data Source:
Archives of American Art
Visitor Tag(s):

[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
See more items in:
Betty Parsons Gallery records and personal papers, circa 1920-1991, bulk 1946-1983
Data Source:
Archives of American Art
Visitor Tag(s):

John D. Graham papers, 1799-1988, bulk 1890-1961

Creator:
Graham, John 1887-1961
Ultra Violet
Davis, Stuart 1892-1964
Gilot, Françoise 1921-
Kitaj, R. B
Mayer, Jack
Tobey, Mark
Burliuk, David 1882-1967
Gorchov, Ron
Subject:
Picasso, Pablo 1881-1973
Gorky, Arshile 1904-1948
Physical description:
11.4 linear ft
Type:
Works of art
Collection descriptions
Photographs
Sketchbooks
Place:
New York (State)
New York
Date:
1799
1799-1988
bulk 1890-1961
20th century
Topic:
Painting, Modern
Art--Collectors and collecting
Painters
Authors
Antiques
World War, 1914-1918
Artists as authors
Local number:
aaa 3894-3896
AAA 3616-3620
AAA 4042-4045
aaa 5049
AAA grahjohn
Notes:
John D. Graham (1887-1961) was a painter and collector from New York and Mexico. Born Ivan Gratsianovitch Dombrovski in Kiev, Russia. Various legal documents list his birth as 1886, 1887, or 1888. He moved to New York in 1920, changing his name to John Dabrowsky Graham. He was a central figure among American avant-garde artists, especially from the late 1920's-1940's. His understanding of cubism and surrealism made him a link to the European art scene. He helped Stuart Davis, Lee Krasner, William de Kooning, Arshile Gorky, Jackson Pollock, and David Smith gain recognition and critical acclaim. His interest in horses, Jungian psychology, yoga, and the occult appear as themes in his work. Graham collected African art which he exhibited in New York inspiring an interest in primitivism among artists. Frank Crowninshield commissioned Graham to assemble an African art collection for him. Graham moved to Mexico in 1936. In 1937, he published SYSTEMS AND DIALECTICS OF ART, stimulating American artists interest in primitive art
Summary:
The papers of painter, collector, and writer John Graham measure 11.4 linear feet and date from 1799 to 1988, with the bulk of materials dating from 1890 to 1961. Papers document the life of John Graham, born Ivan Dombrowsky, through personal documents related to military service and family history, passports, artifacts, correspondence, appointment books, financial records, inventories, wills, extensive writings and notes, books, clippings, exhibition catalogs, photographs of Graham and his family and friends, and artwork created and collected by Graham
Biographical Materials and Artifacts include passports and other official documents, as well as records related to Graham's family, military service, and medical history. Various official legal documents list Graham's birth date as 1886, 1887, or 1888. Among the artifacts found are paint pots and a palette. Correspondence is with art and antique dealers and collectors, and includes significant correspondence and related documents of Jack Mayer, Graham's agent from the late 1950s. Several artists and famous friends are represented in Graham's correspondence including David Burliuk, Stuart Davis, Ultra Violet, Françoise Gilot, R.B. Kitaj, Marc Tobey, and Ron Gorchov
Personal Business Records contain appointment books spanning 1931 to 1961 which record appointments but were also used as notebooks and sketchbooks. Other Business Records include inventories of Graham's books and antiques made by Graham, records of antique-related transactions, wills of Graham and his last wife, Marianne Strate, and extensive personal financial records from the last few years of his life
Graham's writings are found scattered throughout the collection, as is his artwork. The Writings series is dominated by Graham's lengthy book projects, found in multiple drafts. The author's annotated published works are also found, as well as typescripts of several published essays by and about Graham. Lists, notes, and writings on a wide range of subjects are found on loose pages and in notebooks dated from 1931 to 1961. Among the Printed Materials are many annotated books from Graham's library, some of which contain drawings, and clippings and exhibition catalogs related to Graham's career going back to the 1920s. Reference files of printed ephemera and clippings collected by Graham are found on a variety of subjects, some of which contain pictorial subjects used in Graham's paintings
Photographs depict Graham from childhood through his last years in cabinet card portraits, passport photographs, and snapshots. Photographs are also found of his parents, his five wives and four children, and a number of famous friends including Pablo Picasso, Françoise Gilot, their children, and Arshile Gorky. Artwork includes Graham's sketchbooks of 1934, 1960, and 1961, loose sketches, and a collection of file folders with many symbols and illustrations. Also found among the artwork are antique and contemporary prints and drawings collected by Graham
Cite as:
John Graham Papers, 1799-1988. Archives of American Art, Smithsonian Institution
See more items in:
John D. Graham papers, 1799-1988, bulk 1890-1961
Data Source:
Archives of American Art
Visitor Tag(s):

Modify Your Search






or


Narrow By
Filter results to a specific time period.