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Letters

Collection Creator:
Lay, Oliver Ingraham, 1845-1890  Search this
Lay, Charles Downing, 1877-1956  Search this
Type:
Archival materials
Date:
1857-2000
Scope and Contents:
This subseries includes Fidelia Bridges' letters to Phebe Crowell Brown, Annie Brown, and other Brown family members, Oliver Ingraham Lay, and Charles and Laura Lay. Topics include painting activities, personal observations, visits with mutual friends and family, travels, and residences.

Letters contain references to Bridges' colleagues and friends, including William Trost Richards and his daughter, Anna Richards Brewster, John Sartain, the Shannon family, and Hannah Smith. Letters document the period Bridges studied painting with William Trost Richards in Philadelphia, Pennsylvania in the 1860s and her stay in England when she exhibited at the Royal Academy from 1879 to 1880. Also found are the artist's reflections during her travels to England, Germany, and Switzerland, as well as to Paris and Venice in the late 1860s-1890s; many letters are interspersed with Bridges' detailed descriptions of the landscape. Found is one illustrated letter from Fidelia Bridges to Annie Brown (undated). Files also contain typescripts of transcriptions of Bridges' letters and the letters exchanged between Brown family members.

This subseries also contains the scattered correspondence files of Henry Bridges (Fidelia's brother), Charles Downing Lay, George C. Lay, (Charles's son), and various Lay family members. Also found as attachments with other letters are business records, notes, miscellaneous printed material, and photographs. Letters from William T. Brewster to Charles Downing Lay discuss Bridges's relationship with the Richards family and the work of his wife, the painter Anna Richards Brewster. George C. Lay's correspondence with art historians, gallery dealers, and others provides biographical material on Bridges, as well as provenance-related information on several works by the artist.
Arrangement:
Correspondence is arranged alphabetically by family members' surname, and then filed chronologically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers, 1789-2000, bulk 1870-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.layoliv, Subseries 3.1
See more items in:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers / Series 3: Fidelia Bridges Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-layoliv-ref212

Correspondence

Collection Creator:
Lay, Oliver Ingraham, 1845-1890  Search this
Lay, Charles Downing, 1877-1956  Search this
Type:
Archival materials
Date:
1814-1944
Scope and Contents:
Included are letters between Oliver Ingraham Lay and Marian Wait Lay, as well as the respective correspondence files of Oliver Ingraham Lay, Marian Wait Lay, Wilfrid Lay (Oliver's son), Charles Downing, and various family members, reflecting the mutual interaction between friends, acquaintances, and colleagues. Topics include daily events, personal reflections, creative activities, trips, and residences.

Oliver Ingraham Lay's letters to family members and friends describe his painting activities, working methods, and projects, including his commissioned portraits for Edwin Booth and Cyrus Field. Many contain references to Lay's prominent clients, such as Cornelia Curtis and family, Frederick and Mathilda Shelton, and Mary Shannon and the Shannon family. Also found are letters from Alexander Lawrie discussing his painting and financial difficulties. Lay's letters contain references to his colleagues, Henry Bellows, Fidelia Bridges, Sanford Gifford, Jervis McEntee, and William Trost Richards, among others. There are scattered references to Lay's exhibitions at the Artists' Fund Society, the Brooklyn Society of Artists, and the Century Association. One letter to Annie Brown describes his meeting with Oscar Wilde at the Century Association.

Condolence letters to Marian Lay upon Oliver Ingraham Lay's death include letters from Fidelia Bridges and George Henry Story. A file of transcriptions contains miscellaneous correspondence and two theatrical scenarios by Lay, reflecting the artist's enduring interest in the stage productions of his day.

Also of interest, are items found in the correspondence files of Lay family members. Charles Downing's letters to Marian Wait Lay discuss his experimental fruit plantings conducted at his residence in Newburgh, New York. The Brown family correspondence contains numerous references to Fidelia Bridges; also found is an illustrated letter from Annie Brown to Oliver Ingraham Lay. Letters exchanged between Samuel Wait and his son and namesake, Samuel, wholesale dealers in cattle and grain illustrate the manner in which mercantile activities were conducted during the early half of the nineteenth century.
Arrangement:
The files are organized according to family members' surname; material within each folder is arranged chronologically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers, 1789-2000, bulk 1870-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.layoliv, Subseries 1.2
See more items in:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers / Series 1: Oliver Ingraham Lay and Marian Wait Lay Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-layoliv-ref6

Correspondence

Collection Creator:
Lay, Oliver Ingraham, 1845-1890  Search this
Lay, Charles Downing, 1877-1956  Search this
Type:
Archival materials
Date:
1879-1964
Scope and Contents:
This subseries includes the letters between Charles Downing Lay and Laura Gill Lay before their marriage. Also found is the personal correspondence of Charles Downing Lay; the files also contain Laura Lay's correspondence with family members, her children, and friends.

Many of Charles Downing Lay's letters are to Laura Lay and relate to daily events and the activities of family members and friends. Also included are references to his landscape design projects and his painting activities. Among the correspondents are Homer Saint-Gaudens, Eugene Speicher, and Robert Wheelwright. Found are one letter from John C. Olmsted (1916) and one letter from Fidelia Bridges (undated). There is an illustrated letter by Charles Downing Lay to David Lay (Charles's son; 1934).

Also found are Century Association files documenting Lay's affiliation with the club through a variety of material, including correspondence, miscellaneous writings and notes, printed material, and photographs. Much of the correspondence relates to the admission of new members, especially the nominations of Eugene Speicher and Forbes Watson. Notable correspondents include John Taylor Arms, Royal Cortissoz, Homer Saint-Gaudens, Robert W. DeForest, William Henry Fox, and Gari Melchers. There is a group photograph of Charles Downing Lay with Henry Allen Moe and Geoffrey Parsons, (undated).
Arrangement:
Letters between Charles Downing Lay and Laura Gill Lay and the Charles Downing Lay correspondence are filed chronologically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection Rights:
The Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family Papers, 1789-2000, bulk 1870-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.layoliv, Subseries 2.2
See more items in:
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers
Oliver Ingraham Lay, Charles Downing Lay, and Lay Family papers / Series 2: Charles Downing Lay and Laura Gill Lay Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-layoliv-ref81

James A. McGrath papers, 1950-2011

Creator:
McGrath, James A., 1928-  Search this
Subject:
Tobey, Mark  Search this
Rauschenberg, Robert  Search this
Thiel, Philip  Search this
Wiley, William T.  Search this
University of California, San Francisco.School of Fine Arts  Search this
United States Information Agency  Search this
United States.Department of Defense  Search this
Topic:
Painters  Search this
Sketches  Search this
Postcards  Search this
Photographs  Search this
Performance artists  Search this
Illustrators  Search this
Illustrated letters  Search this
Christmas cards  Search this
Poems  Search this
Sculptors  Search this
Drawings  Search this
Prints  Search this
Record number:
(DSI-AAA_CollID)15948
(DSI-AAA_SIRISBib)301046
AAA_collcode_mcgrjame
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_301046
Additional Online Media:

James A. McGrath papers

Creator:
McGrath, James A.  Search this
Names:
Rauschenberg, Robert, 1925-2008  Search this
Tobey, Mark  Search this
Wiley, William T., 1937-  Search this
Extent:
5.3 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Poems
Prints
Postcards
Paintings
Sketches
Illustrated letters
Christmas cards
Photographs
Date:
1950-2011
Summary:
The papers of arts educator James A. McGrath measure 5.3 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.
Scope and Content Note:
The papers of arts educator James A. McGrath measure 5.3 linear feet and date from 1950-2011. Included are McGrath's papers concerning his artist's residencies and workshops for the United States Information Agency (USIA) in the Yemen Republic, Saudi Arabia, and the Republic of the Congo, 1990-1995. Also found are McGrath's papers concerning artist William Wiley. These papers date from Wiley's high school days and includes correspondence, writings, student files, printed materials, photographs, and artwork. Letters from Wiley to McGrath span several decades and provide details about his artwork, family, and travels.

James McGrath's papers regarding his artist's residencies and workshops are currently unprocessed.

Wiley's high school student files consist of exams and two Columbia High School yearbooks with contributions from Wiley. Correspondence includes mostly letters written from Wiley to McGrath, some of which are illustrated. There are also Christmas cards, postcards, prints and a wedding invitation and photograph of Wiley and his wife Mary. Wiley writes about his artwork, family, travels and his mother's death. There are also letters to McGrath from Wiley's first and second wives, Dorothy and Mary, his mother, and artists Robert Rauschenberg and Mark Tobey.

Printed materials include exhibition catalogs and announcements, news and magazine clippings, and the books Distraction, Lyrica and Almost Old/New Poems, all illustrated by Wiley.

Artwork by Wiley includes block prints, sketches and drawings, poems, paintings, prints and posters. Photographs are of Wiley's high school yearbook staff, art work and exhibitions, and a dinner honoring Wiley. There is a signed high school photograph of Wiley and a booklet of photographs of an exhibition of McGrath's art. There are also slides of artwork by Wiley, Bob Hudson and Bill Allan.
Arrangement:
The papers are arranged as 2 series.

Series 1: James A. McGrath Papers Concerning William T. Wiley (Box 1-3, OVs 4-6; 2.0 linear feet)

Series 2: Unprocessed James A. McGrath Papers, circa 1990-1995 (Boxes 7-9, OVs 10-12)
Biographical Note:
Arts educator James A. McGrath was a high school art teacher at Columbia High School in Richland, Washington where he taught William T. Wiley in the mid-1950s. They remained life-long friends. Later, McGrath worked at the Institute of American Indian Arts in Santa Fe as Director of Arts, Professor of Painting, and Dean. In 1973 he became Director of Arts, Humanities and Culture in the Department of Defense and was stationed in Japan, Korea, Okinawa, Taiwan and the Philippines. He also worked for the United States Information Agency in Yemen, Saudi Arabia and the Republic of the Congo. He continues to be active as an arts education specialist.

William T. Wiley (b. 1937)is a contemporary artist painting and teaching primarily in the San Francisco area. His artwork is associated with the Bay area Funk Movement. Wiley studied at the California School of Fine Arts and completed his MFA in 1962. One year later he joined the faculty of the UC Davis art department along with artists Robert Arneson and Roy DeForest. Wiley's students included Bruce Nauman and Deborah Butterfield.

Wiley's first solo exhibition was held at the San Francisco Museum of Modern Art in 1960, and he had works in the Venice Biennial (1980) and Whitney Biennial (1983), as well as major exhibitions at the San Francisco Museum of Modern Art and the M.H. de Young Memorial Museum in San Francisco. His artwork is in the collections of the Art Institute of Chicago, the Museum of Modern Art, the Whitney Museum of American Art, the Corcoran Gallery of Art, the San Francisco Museum of Modern Art, the Hirshhorn Museum and Sculpture Garden and the Los Angeles County Museum of Art, among many others. Wiley was the recipient of the Guggenheim Fellowship Award in 2004 and, in 2009, the Smithsonian American Art Museum presented a retrospective exhibition of Wiley's career.
Related Material:
The Archives of American Art also holds several collections related to William T. Wiley including an oral history interview conducted by Paul J. Karlstrom, October 8-November 20, 1997 and the William T. Wiley illustrated journals on microfilm reel 910. The University of Washington also holds papers of James A. McGrath.
Separated Material:
Six Documenta catalogs, originally donated to AAA with the James A. McGrath Papers Concerning William T. Wiley, were transferred to the Smithsonian Institution Libraries.
Provenance:
The papers were donated by James A. McGrath in five accessions between 2010-2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Sculptors -- California -- San Francisco  Search this
Performance artists -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Illustrators -- California -- San Francisco  Search this
Genre/Form:
Drawings
Poems
Prints
Postcards
Paintings
Sketches
Illustrated letters
Christmas cards
Photographs
Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgrjame
See more items in:
James A. McGrath papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mcgrjame

Correspondence

Collection Creator:
McGrath, James A.  Search this
Type:
Archival materials
Date:
1958-2011
Scope and Contents note:
Correspondence is mostly comprised of letters written from Wiley to McGrath. Included are Christmas cards, illustrated letters from Wiley and his mother to McGrath, postcards, prints and a wedding invitation and photograph of Wiley and his wife Mary. Wiley writes about his artwork, family, travels and his mother's death. There are also letters to McGrath from Wiley's first and second wives, Dorothy and Mary, and artists Robert Rauschenberg and Mark Tobey.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mcgrjame, Subseries 1.2
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref22

Illustrated Letter

Collection Creator:
McGrath, James A.  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1958-1959
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley / 1.2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref23

Illustrated Letter from Dorothy Wiley to James McGrath

Collection Creator:
McGrath, James A.  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
1994
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley / 1.2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref33

Illustrated Letter and Prints

Collection Creator:
McGrath, James A.  Search this
Container:
Box 1, Folder 19
Type:
Archival materials
Date:
2001-2004
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley / 1.2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref36

Illustrated Letter/Poster

Collection Creator:
McGrath, James A.  Search this
Extent:
(Oversized item housed in box 3, folder 6)
Container:
Box 2, Folder 14
Type:
Archival materials
Date:
1955
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley / 1.4: Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref84

Oversized Illustrated Letter/Poster

Collection Creator:
McGrath, James A.  Search this
Extent:
(from box 2, folder 14)
Container:
Box 3, Folder 6
Type:
Archival materials
Date:
1955
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The James A. McGrath papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
James A. McGrath papers, 1950-2011. Archives of American Art, Smithsonian Institution.
See more items in:
James A. McGrath papers
James A. McGrath papers / Series 1: James A. McGrath Papers Concerning William T. Wiley / 1.4: Artwork
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-mcgrjame-ref92

Keith Warner papers

Creator:
Warner, Keith, 1895-1959  Search this
Names:
"291" (Gallery)  Search this
American Place (Gallery)  Search this
Whitney Museum of American Art  Search this
Calder, Alexander, 1898-1976  Search this
Dorcely, Roland  Search this
Macdonald-Wright, Stanton, 1890-1973  Search this
Marin, John, 1870-1953  Search this
Mondrian, Piet, 1872-1944  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Rosenburg, Paul  Search this
Russell, Morgan, 1886-1953  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weber, Max, 1881-1961  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Illustrated letters
Sketches
Date:
1935-1975
Summary:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.
Scope and Contents:
The papers of American art collector Keith Warner measure 0.7 linear feet and date from 1935 to 1975. Correspondence, collecting files, and artwork detail Warner's role as a collector of art in the mid-twentieth century. Present in the collection are materials related to Alexander Calder, Roland Dorcely, Stanton MacDonald-Wright, Piet Mondrian, Alfred Stieglitz, and Max Weber.

Warner's relationships with artists are documented in extensive letters which make up the bulk of the collection. Subjects range from exhibitions, the art market, artists' methods and works, art criticism, and collecting to personal subjects. Letters from Roland Dorcely and Alexander Calder include illustrated letters and postcards. Letters from Calder discuss a mix of business and personal matters, including a discussion of the design of jewelry commissioned for Warner's wife, Edna. Letters from Dorcely document Warner's cultivation, criticism, and collection of Dorcely's work, as well as the hardships of Haitian artists and Dorcely's views on art. The letters are in French with some English translations.

Correspondence with Alfred Stieglitz documents his common endeavor with Warner in collecting the paintings of John Marin, and Stieglitz's gallery, An American Place. Letters associated with An American Place continue after Stieglitz's death in 1946. Found with Alfred Stieglitz's letters are two letters from Georgia O'Keeffe. Max Weber letters include comments on his painting and sculpting, his retrospective show at the Whitney, the art press, national politics, and also refer to Stieglitz and Marin. An extensive group of correspondence with Stanton MacDonald-Wright is mostly undated; MacDonald-Wright writes freely about Stieglitz, the "291" group of artists, and his partner in Synchromism, Morgan Russell. Also included are letters from Piet Mondrian related to collecting, as well as letters from unidentified correspondents.

Warner's collecting files consist of diverse materials concerning his research, writing, and relationships with artists whose paintings he collected, particularly Roland Dorcely and Stanton MacDonald-Wright. Included are biographical sketches; writings about and by the artists, including manuscripts and published materials; newspaper and magazine clippings; exhibition announcements and catalogs; and photographs of works of art. Writings by Roland Dorcely, on the subject of his artistic process and perspective, include handwritten essays in French as well as typed English translations. Published articles from Script magazine (1945-1946) by Stanton MacDonald-Wright document his career as an art critic. Writings on Alexander Calder and Paul Rosenburg, taken from Warner's journal on Calder, and on the early relationship of Alfred Stieglitz and Georgia O'Keeffe, documented on a visit with Stieglitz on May 3, 1944, are also present.

Artwork consists of work by Alexander Calder and Roland Dorcely. Calder's work includes sketches proposing mobiles with notations as to material, scale, and cost. Dorcely's work includes sketches in graphite and ink of abstract figures and objects.
Arrangement:
The collection is arranged as 3 series.

Series 1: Correspondence, 1940-1963 (0.4 linear feet; Box 1-2)

Series 2: Collecting Files, circa 1940-1975 (12 folders; Box 2, OV 3)

Series 3: Artwork, circa 1945-circa 1965 (2 folders; Box 2)
Biographical / Historical:
Keith Warner (1895-1959) was an American art collector. Warner was born and lived in Gloversville, New York, and maintained a manufacturing business that took him to New York City intermittently. Warner began collecting Chinese porcelains after World War I, and a few years later his interest shifted to American abstract painting. Warner retired from business in 1944. His collection was sold gradually after his death, mostly to private collectors, though some works are in museums in the United States and Japan.
Provenance:
The Keith Warner papers were donated in 1992 by Edna K. Allen, wife of Keith Warner.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Keith Warner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art -- Haiti  Search this
Topic:
Art -- Collectors and collecting -- New York (State)  Search this
Artists -- United States  Search this
Art, Abstract -- Collectors and collecting  Search this
Art criticism  Search this
Art, Modern -- 20th century -- Collectors and collecting  Search this
Synchromism (Art)  Search this
Art, American  Search this
Genre/Form:
Photographs
Illustrated letters
Sketches
Citation:
Keith Warner papers, 1935-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnkeit
See more items in:
Keith Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnkeit
Additional Online Media:

General Correspondence

Collection Creator:
Catherine Viviano  Search this
Type:
Archival materials
Date:
1939-1985
Scope and Contents note:
This subseries contains Viviano's correspondence with artists and their family members, historians, clients, publishers, and individuals at museums, galleries, and non-profit arts organizations. Included are letters from Margaret Viviano, who worked closely with her sister Catherine in the gallery. There are files of Catherine Viviano's scattered correspondence, some of it personal. Materials include carbon copies, drafts, postcards, telegrams, and photographs of artwork. Also found are illustrated letters, holiday and greeting cards, many with original artwork.

Letters include detailed information on the gallery's general operations: acquisitions, sales, loans, shipping and delivery of artwork, insurance claims, and requests for biographical material on artists and permission to reproduce artwork. Letters also provide an overview of Viviano's efforts in promoting artists, developing relationships with clients and collectors, and organizing exhibitions. Among the artists frequently referred to in the correspondence are Afro and Mirko Basaldella, Max Beckmann, Renato Birolli, Robert Broderson, Leonardo Cremonini, Joseph Glasco, Luciano Minguzzi, Bernard Perlin, Faustus Pirandello, Bernard Rosenthal, and Kay Sage.

The bulk of the correspondence with artists represented by the gallery is found in the artists' files. Some of the names in general correspondence can also be found in correspondence with galleries, museums, and art-related institutions in the United States and abroad.
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Catherine Viviano Gallery records records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.cathvivi, Subseries 2.1
See more items in:
Catherine Viviano Gallery records
Catherine Viviano Gallery records / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-cathvivi-ref218

Beatrice Wood papers

Creator:
Wood, Beatrice  Search this
Names:
Garth Clark Gallery (New York, N.Y.)  Search this
John Waller, Fine Ceramics (Firm : Los Angeles, Calif.)  Search this
Zachary Waller Gallery (Los Angeles, Calif.)  Search this
Arensberg, Louise S. (Louise Stevenson), 1879-1953  Search this
Arensberg, Walter, 1878-1954  Search this
Duchamp, Marcel, 1887-1968  Search this
Hapgood, Elizabeth Reynolds  Search this
Hoag, Stephen Asa  Search this
Nin, Anaïs, 1903-1977  Search this
Roché, Henri Pierre, 1879-1959  Search this
Rosencrantz, Esther, 1876-1950  Search this
Extent:
26.6 Linear feet
Type:
Collection descriptions
Archival materials
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Date:
1894-1998
bulk 1930-1990
Summary:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biograpical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.
Scope and Contents note:
The papers of California ceramicist Beatrice Wood measure 26.6 linear feet and date from 1906 to 1998, with the bulk dating from 1930-1990. There is extensive correspondence with gallery owners, fellow artists, clients, friends, and family. The collection also contains biographical materials, personal business records, writings, printed materials, photographs, and works of art. Of particular interest are the 28 diaries that Wood maintained from 1916 until her death in 1998 and 42 glazing formula notebooks dating from 1934-1997. Also found are documents of Steven Hoag and Esther Rosencranz, her husband and aunt respectively, that consist of correspondence, business records, and photographs given to the Archives of American Art as part of the Beatrice Wood papers.

Biographical material contains certificates, licenses, degrees, legal documents, and extensive interview transcripts, which describe her philosophy on art and her development as a ceramic artist.

Correspondence is particularly rich in documenting Wood's passion and dedication to her work as a writer and artist. The records reflect Wood's close professional and personal relationships with many friends and colleagues, including Henri-Pierre Roche, Marcel Duchamp, Anais Nin, Elizabeth Hapgood, and Walter and Lou Arensberg. Additional correspondence with editors and publishers is also included. Wood enjoyed illustrating her letters, as did many of her correspondents.

Personal business records include financial material, sales and consignment records, and correspondence with gallery owners, including Garth Clark Gallery, John Waller Gallery, and Zachary Waller Gallery.

Notes and writings extensively document Wood's second career as a writer. Edited drafts of her monographs and short stories are available, as well as her journal writings and notes. Drafts of I Shock Myself: The Autobiography of Beatrice Wood, Angel Who Wore Black Tights, 33rd Wife of a Maharajah, among others are included. Also found here are the illustrations that Wood created for her monographs. She often did a series of drawings for each illustration and these copies are included as well.

Twenty-eight detailed diaries contain information about studio sales, clients, and the economic uncertainties of being a self-employed artist. The diaries, arranged in one-year and five-year volumes, begin in 1916 and end just a few days before her death in 1998.

Forty-two glaze books record the formulas for the pottery glazes Wood developed throughout her career.

Printed material includes copies of Wood's published monographs as well as exhibition announcements and brochures. Also found are clippings about Wood, including numerous articles about her trips to India.

Photographic material includes photographs and slides of Wood, her friends, travels, and other events. Many of the photographs are identified by Wood.

Artwork includes original sketches, drawings, watercolors, lithographs and designs by Wood. The original illustrations from her books are included in this series.

The last two series contain records generated by her husband, Stephen Hoag and her maternal aunt, Esther Rosencrantz. Wood was married to Hoag from 1937 until his death in 1960. The bulk of the material contains Hoag's financial records, mostly receipts, from his early years as a engineer in the Pacific Northwest. Esther Rosencranz, a physician in San Francisco, collected book plates that are included in this series.
Arrangement note:
The collection is arranged as 11 series:

Series 1: Biographical Material, 1924-1993 (Box 1; 0.3 linear feet)

Series 2: Correspondence, 1910-1998 (Box 1-8; 7.7 linear feet)

Series 3: Personal Business Records, 1909-1988 (Box 9-11, 26, OV 31; 3.5 linear feet)

Series 4: Notes and Writings, circa 1912-1997 (Box 11-16, 27; 5.5 linear feet)

Series 5: Diaries, 1915-1998 (Box 17-20; 4 linear feet)

Series 6: Glaze Books, circa 1930-1997 (Box 21-22, 27-30; 2.5 linear feet)

Series 7: Printed Material, 1940-1997 (Box 23, OV 31; 1.1 linear feet)

Series 8: Photographic Material, 1913-1997 (Box 24, 30; 1 linear foot)

Series 9: Artwork, 1917-1991 (Box 24-25, 30; 0.5 linear feet)

Series 10: Stephen Hoag papers, 1906-1960 (Box 25; 0.3 linear feet)

Series 11: Esther Rosencranz papers, 1894-1959 (Box 25; 0.1 linear feet)
Biographical/Historical note:
Beatrice Wood (1893-1998) was a ceramicist, painter, and writer who relocated to Ojai, California in 1948.

Beatrice Wood was born on March 3, 1893 in San Francisco to socially prominent and wealthy parents. In the late 1890s, the family moved to New York City where Wood was expected to begin the process of "coming out" in New York society. This process included boarding schools, a convent school in Paris, and frequent summer trips to Europe where she was exposed to museums, galleries, and the theater. Wood studied acting and dance in Paris until the outbreak of the war in 1914. She returned to New York and soon joined the company of the French National Repertory Theatre. From 1914 through 1916, Wood played over 60 parts as a stage actress.

In 1917, Wood met the writer Henri Pierre Roche, with whom she had a brief affair and a long friendship. Roche introduced her to the New York world of artists and writers and encouraged her interest in drawing and painting. During a visit to see the composer Edgard Varese in the hospital, Wood met Marcel Duchamp, with whom she had a love affair and who also had a strong influence in her development as an artist. Their long discussions about modern art encouraged Wood to show Duchamp a recent drawing entitled "Marriage of a Friend." Duchamp liked the drawing so much that he published it in Rogue, a magazine partly financed by Walter and Louise Arensberg, friends of Duchamp. The Arensbergs were pioneering collectors of modern art and soon became friends of Wood as well. She became a frequent guest at their evening gatherings, forming friendships with Walter Pach, Francis Picabia, Joseph Stella, Myrna Loy, Galka Scheyer, and others.

Through Duchamp and the Arensbergs, Wood was introduced to the world of the New York Dada. Following the formation of the Society of Independent Artists in 1917, Wood exhibited work in their Independents exhibition. Together with Duchamp and Roche, she published a short-lived avant-garde journal, called Blind Man, in which the Alfred Steiglitz photograph of Duchamp's famous ready-made "Fountain" appeared. She also designed the poster for the Dada event, The Blind Man's Ball.

Throughout the 1920s, Wood continued to draw and paint, especially watercolors. Late in 1927, she moved to California to join the Arensbergs, who had been there since 1921. She also developed an interest in clay and took her first ceramics classes with Glen Lukens at the University of Southern California in the late 1930s. In 1940 Wood studied with Otto and Gertrud Natzler, Austrian potters who were known for their technical mastery and ability to throw almost perfectly formed pots. The Natzlers taught her how to throw pots and calculate glaze formulas.

Museums and galleries began to take an interest in her pottery and she held several shows in New York, San Francisco, and Phoenix. Several department stores, including Nieman Marcus and Gumps, also began to feature her pottery. During the 1940s, Wood began making figurative art in addition to more traditional pots. In 1947, for example, she included a large blue fish with white spots in an exhibition at the Los Angeles County Museum of History, Science, and Art. As her skills developed, Wood moved to a new home and studio in Ojai, California. By 1950, Wood was experimenting with luster surfaces, pottery with a metallic glaze that gives the effect of iridescence. These lusterware plates, in addition to her decorative figures and traditional ceramics, were sold at her studio, advertised with a sign out front that read "Beatrice Wood: Fine Pottery, Reasonable and Unreasonable."

In 1961, Wood visited India as a cultural ambassador, sponsored by the State Department. She toured the country and showed her work in fourteen cities. She became enamoured with Indian decorative arts and began to weave shimmering gold and silver threads into her palatte. Wood returned a second time in 1965 at the invitation of the Indian government. It was during this trip that she decided to adopt the sari as her style of dress, a style she continued until her death in 1998. She made her third and last trip to India in 1971. Her book, 33rd Wife of a Maharajah is about her adventures in India.

Wood always enjoyed writing, recording her daily activities in a diary and creating stories about her experiences with friends and colleagues. She published her first book, Angel Who Wore Black Tights in 1982, followed by her autobiography, I Shock Myself, in 1985.

Wood considered her last 25 years as her most productive. In addition to her literary publications, Wood also had several successful exhibitions, including Intimate Appeal: The Figurative Art of Beatrice Wood at the Oakland Museum in 1990 and Beatrice Wood: A Centennial Tribute at New York's American Craft Museum in 1997. The film, Beatrice Wood: The Mama of Dada, was filmed on the occasion of her 100th birthday in 1993. She died in Ojai, California in 1998, nine days after her 105th birthday.
Related Archival Materials note:
The Archives of American Art holds two oral history interviews with Beatrice Wood completed by Paul Karlstrom in 1976 and 1992.
Provenance:
Beatrice Wood donated her papers in several accretions between 1976 and 2002. Additional material was donated by Francis Naumann in 1993 and the Beatrice Wood Personal Property Trust in 1999. Material from a 1977 loan was included in Wood's later donations.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Beatrice Wood papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Philosophy  Search this
Authors -- California  Search this
Glazes -- Formulae  Search this
Women artists -- California  Search this
Art -- Economic aspects  Search this
Actresses -- United States  Search this
Ceramicists -- California  Search this
Art, Modern -- 20th century -- California  Search this
Genre/Form:
Drafts (documents)
Interviews
Photographs
Illustrated letters
Notes
Watercolors
Diaries
Transcripts
Lithographs
Short stories
Illustrations
Designs
Drawings
Bookplates
Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodbeat
See more items in:
Beatrice Wood papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodbeat
Additional Online Media:

Chronological

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 1, Folder 25
Type:
Archival materials
Date:
1923-1924, 1926-1927, 1929
Scope and Contents note:
(contains illustrated letters)
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Beatrice Wood papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 2: Correspondence / 2.1: Chronological General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref43

Chronological

Collection Creator:
Wood, Beatrice  Search this
Container:
Box 1, Folder 32
Type:
Archival materials
Date:
June-September 1936
Scope and Contents note:
(contains illustrated letters)
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Collection Rights:
The Beatrice Wood papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Beatrice Wood papers, 1906-1998, bulk 1930-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Beatrice Wood papers
Beatrice Wood papers / Series 2: Correspondence / 2.1: Chronological General Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-woodbeat-ref51

Frederick S. (Frederick Stuart) Church letter to Emma Louise Klotz

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Klotz, Emma Louise  Search this
Type:
Correspondence
Date:
1904 Aug. 12
Topic:
Illustrated letters  Search this
Record number:
(DSI-AAA)9591
See more items in:
Frederick Stuart Church letters and art work, circa 1892-circa 1923
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_9591
Additional Online Media:

Frederick Stuart Church letters and art work, circa 1892-circa 1923

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Subject:
Klotz, Emma Louise  Search this
Mitchell, B. N.  Search this
Topic:
Works of art  Search this
Art patrons  Search this
Art patronage  Search this
Printmakers  Search this
Painters  Search this
Sketches  Search this
Illustrated letters  Search this
Illustrators  Search this
Painting  Search this
Record number:
(DSI-AAA_CollID)10809
(DSI-AAA_SIRISBib)214543
AAA_collcode_churfred
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214543

Frederick Stuart Church collection, circa 1885-1905

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Topic:
Painters  Search this
Illustrated letters  Search this
Record number:
(DSI-AAA_CollID)7420
(DSI-AAA_SIRISBib)209578
AAA_collcode_churfsls
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209578

John Gellatly letters received from artists

Creator:
Gellatly, John, 1853-1931  Search this
Names:
Barnard, George Grey, 1863-1938  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Thayer, Emma B., 1850-1924  Search this
Wiles, Irving Ramsay, 1861-1948  Search this
Wood, Charles Erskine Scott, 1852-1944  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Illustrated letters
Date:
1887-1931
Summary:
The John Gellatly letters received from artists measure 0.2 linear feet and date from 1887 to 1931. Found within the collection are 120 letters to Gellatly from Emma and Abbott H. Thayer, Frederick S. Church, Irving Wiles, Albert Pinkham Ryder, C. E. S. Wood, and George Grey Barnard. Some of the letters contain sketches, particularly those from Church. Topics include the price and progress of artworks, requests for commissions, mutual friendships, and daily events. There are also two copies of the poem "The Flying Dutchman" by Albert P. Ryder.
Scope and Contents:
The John Gellatly letters received from artists measure 0.2 linear feet and date from 1887 to 1931. Found within the collection are 120 letters to Gellatly from Emma and Abbott H. Thayer, Frederick S. Church, Irving Wiles, Albert Pinkham Ryder, C. E. S. Wood, and George Grey Barnard. Some of the letters contain sketches, particularly those from Church. Topics include the price and progress of artworks, requests for commissions, mutual friendships, and daily events. There are also two copies of the poem "The Flying Dutchman" by Albert P. Ryder.
Arrangement:
The collection is arranged as 1 series.

Series 1: John Gellatly Letters Received from Artists, 1887-1931 (0.2 linear feet; Box 1)
Biographical / Historical:
Art collector John Gellatly (1853-1931) lived in New York City, N.Y. and established a real estate and insurance business in 1885. An art enthusiast, Gellatly furthered his interests by enrolling in classes. There, he would meet his future wife, the heiress Edith Rogers, whom he married in 1886. Together, they began collecting decorative art objects and contemporary paintings, including works by Albert P. Ryder, Abbott Thayer, and Childe Hassam. After Edith's death in 1917, Gellatly continued to collect art and eventually gifted the 1,640 objects and paintings in his collection to the Smithsonian in 1929. He died of complications from pneumonia in 1931.
Provenance:
The collection was initially bought by art historian Thomas Brumbaugh of Vanderbilt University from Walter R. Benjamin Autographs of Madison Avenue, and subsequently acquired in 1978 by the National Collection of Fine Arts, now the Smithsonian American Art Museum. Shortly thereafter, the letters were transferred to the Archives of American Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Illustrated letters
Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gelljohn
See more items in:
John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gelljohn
Additional Online Media:

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