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Carving a Marble Replica using a Pointing Device

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-07-09T13:01:56.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_1i30rPRmEeA

3D Scanning the "Greek Slave" by Hiram Powers

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2015-07-09T13:01:52.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_LLWnp9IeaE4

The Non-Invasive Analysis of Painted Surfaces - Austin Nevin (5 of 14)

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2014-04-01T15:50:14.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_REsLIOEdW2w

Museum Lighting 101

Creator:
Smithsonian American Art Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2013-03-15T20:09:32.000Z
YouTube Category:
Science & Technology  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_Zr_ivgCI9VU

Exhibition talk: The Great American Experiment with curator Claire Perry

Creator:
Smithsonian American Art Museum  Search this
Type:
Conversations and talks
YouTube Videos
Uploaded:
2011-10-12T15:02:28.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_buGLgpvuyVI

Meet the Artist: Timothy Horn from “Forces of Nature Renwick Invitational 2020”

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2020-12-03T21:16:19.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_3coHAxyCQd0

Installing Peale’s Mastodon at SAAM – Time-lapse

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2020-04-13T16:46:53.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
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americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_jQ2Qjs9yK78

Doll & Richards gallery records

Creator:
Doll & Richards (Gallery)  Search this
Names:
Azeez Khayat Gallery  Search this
Kleemann Galleries  Search this
Macbeth Gallery  Search this
Museum of Fine Arts, Boston  Search this
Chetcuti, John  Search this
Freiman, Robert  Search this
Goodrich, Lloyd, 1897-1987  Search this
Haseltine, William Stanley, 1835-1900  Search this
Homer, Winslow, 1836-1910  Search this
Lindenmuth, Tod  Search this
Meyerowitz, William, 1887-1981  Search this
Shepler, Dwight, 1905-  Search this
Verner, Elizabeth O'Neill, 1883-1979  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Wyeth, Andrew, 1917-2009  Search this
Zoehler, Wendell H., 1907-1989  Search this
Extent:
87.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Financial records
Date:
1863-1978
bulk 1902-1969
Summary:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.
Scope and Content Note:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.

Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.

Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .

Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.

Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.

The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.

The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)

Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)

Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)

Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)

Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)

Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)

Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)

Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)

Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)

The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.
Historical Note:
The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.

In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.

Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.

The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.

Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.
Related Material:
Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.
Separated Material:
A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.
Provenance:
The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, American  Search this
Function:
Art galleries, Commercial -- Massachusetts
Genre/Form:
Photographs
Scrapbooks
Financial records
Citation:
Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dollrich
See more items in:
Doll & Richards gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b774b9ae-a4eb-4849-9652-6be121c5142f
EDAN-URL:
ead_collection:sova-aaa-dollrich

Ellen Hulda Johnson papers

Creator:
Johnson, Ellen H.  Search this
Names:
Allen Memorial Art Museum  Search this
American-Scandinavian Foundation  Search this
College Art Association (U.S.)  Search this
Oberlin College -- Faculty  Search this
Archipenko, Alexander, 1887-1964  Search this
Cézanne, Paul, 1839-1906  Search this
Dine, Jim, 1935-  Search this
Hesse, Eva, 1936-1970  Search this
Kensett, John Frederick, 1816-1872  Search this
Milles, Carl, 1875-1955  Search this
Oldenburg, Claes, 1929-  Search this
Picasso, Pablo, 1881-1973  Search this
Saunders, David  Search this
Stieglitz, Alfred, 1864-1946  Search this
Tacha, Athena, 1936-  Search this
Tworkov, Jack  Search this
Venturi, Robert  Search this
Wilke, Wendell  Search this
Extent:
61.5 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Ossabaw Island (Ga.)
Date:
1872-2018
bulk 1921-1992
Summary:
The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 61.5 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists. There is a 0.2 linear foot unprocessed addition to this collection donated in 2021 that includes letters to Ellen Johnson from others, letters from Johnson to Carl Gerber, and a sketch by Johnson. Materials date from circa 1956-1991.
Scope and Contents:
The papers of art historian, art critic, author, librarian and educator Ellen Hulda Johnson measure 61.5 linear feet and date from 1872-2018, with the bulk of the material dating from 1921-1992. The papers include biographical materials; personal and family files; personal, professional, and business correspondence; extensive research and writing files; teaching files; subject files; professional and curatorial files; and artists' files. Johnson's papers reflect the full range of her career, interests, and close relationships with many artists. There is a 0.2 linear foot unprocessed addition to this collection donated in 2021 that includes letters to Ellen Johnson from others, letters from Johnson to Carl Gerber, and a sketch by Johnson. Materials date from circa 1956-1991.

Personal papers consist of biographical materials and personal and family files, including "memorabilia" files compiled by Johnson. Correspondence is a mix of personal, business, and professional correspondence. Significant correspondents include David Saunders (who painted a portrait of Johnson), Claes Oldenburg, Jack Tworkov, Robert Venturi, the American Scandinavian Foundation. A folder of correspondence compiled for the Archives includes letters from Alfred Stieglitz, Wendell Wilkie, Carl Milles, Jim Dine, and Alexander Archipenko.

Extensive and comprehensive writing and research project files include articles, lectures, presentations, manuscripts, notes and notebooks, including her class notebooks from courses she attended in Paris in 1935, and additional notes and notebooks on a wide variety of subjects. The numerous articles, lectures, papers, and drafts were written primarily by Johnson for the College Art Association, the Allen Memorial Art Museum bulletin, and numerous additional publications and presentations; but there are also writings by others included in the research files. Major writing projects and related research files cover Scandinavian art, the Ossabaw Island artist's colony, Cezanne, Eva Hesse, John Frederick Kensett, Claes Oldenburg, Picasso, David Saunders, Athena Tacha, Pop Art, and many other topics. Johnson's research files, manuscripts, correspondence, and photographs for major exhibitions, including one on Eva Hesse (1982) and for her published books including American Artists on Art from 1940-1980 (1982), Claes Oldenburg (1971), Fragments Recalled at 80: The Art Memoirs of Ellen H. Johnson (1993), and Modern Art and Object (1976) are arranged with the writing project files. Johnson's bibliographic index cards are found here as well.

The collection contains extensive teaching files for courses taught by Johnson at Oberlin and as a visiting professor at other institutions; professional and curatorial files reflecting her curatorial career at Allen Memorial Art Museum, as a consultant, jury member, and continuing education courses she later attended, including the Baldwin Lecture Series; and 18 linear feet of artist's files assembled by Johnson.
Arrangement:
The Ellen Hulda Johnson papers are arranged into seven series:

Missing Title

Series 1: Personal Papers, circa 1905-2009 (5 linear feet; Boxes 1-2, 56-59)

Series 2: Correspondence, 1927-2009 (5.5 linear feet; Boxes 3-7, 60)

Series 3: Writing and Research Projects, 1872, 1932-1994 (15.5 linear feet; Boxes 7-20, 56, 61-62)

Series 4: Subject Files, 1930-1993 (5 linear feet; Boxes 21-25, 62)

Series 5: Teaching Files, 1928-1989 (6 linear feet; Boxes 26-31, 62)

Series 6: Professional and Curatorial Files, 1936-1991 (6 linear feet; Boxes 32-37, 56)

Series 7: Artists Files, 1935-1992 (18.3 linear feet; Boxes 37-55, 62)

Series 8: Unprocessed Addition, 1956-1991 (0.2 linear feet; Box 63)
Biographical / Historical:
Ellen Hulda Johnson (1910-1992) was an art historian, critic, and professor who worked and taught at Oberlin College in Ohio for most of her career.

Ellen Hulda Johnson was born in 1910 in Warren, Pennsylvania. She received her Bachelor's and Master's degrees in art history at Oberlin in 1933 and 1935. She worked briefly at the Toledo Museum of Art before returning to Oberlin as the art librarian. In 1940 she started Oberlin's art rental program, the first of its kind in the country. She was appointed to the faculty in 1948 and taught nineteenth and twentieth century art, American art from colonial times to the present, contemporary art, and Scandinavian art. She was a member of the Allen Memorial Art Museum's acquisition committee and was appointed honorary curator of modern art in 1973. She remained at Oberlin her entire career, retiring from teaching in 1977.

Johnson was a scholar of Cézanne, Claes Oldenburg, Eva Hesse, Pablo Picasso, Edvard Munch, John F. Kensett and other modern masters, as well as Scandinavian art. In 1962 she wrote the first important article on Claes Oldenburg and, in 1970, assisted curator Athena Tacha commission his first permanent large sculpture (3-Way Plug) for the grounds of the Allen Memorial Art Museum. She was the first to show the black-striped paintings that established Frank Stella's reputation. Her efforts in promoting acquisitions of young contemporary artists helped make the Allen Memorial Art Museum a leading institution in contemporary art. Her Oberlin lectures on modern art became so popular that they had to be held in the college's largest auditorium and influenced generations of students, many of whom went on to signficant positions in the field. A new wing of the museum designed by Robert Venturi opened in 1977 and was named in honor of Johnson.

Johnson was the author of numerous articles, books, and exhibition catalogs including Cezanne (Penquin, 1967); Claes Oldenburg (Penquin, 1971); American Artists on Art from 1940-1980 (Harper and Row, 1982); and Modern Art and the Object (Thames and Hudson, 1976).

In 1968, Johnson purchased the Frank Lloyd Wright-designed Weltzheimer house in Oberlin, and spent a considerable part of her time and money restoring the building where she lived the rest of her life. She bequethed the house and her significant art collection to Oberlin upon her death in 1992.
Related Materials:
Papers of Ellen H. Johnson, 1933-1992, are also located at Oberlin College Archives.
Separated Materials:
Shortly after aquisition, the Archives transferred Ellen Hulda Johnson's vertical file (16 linear feet) of clippings, press releases, and exhibition announcements to the library of the Smithsonian American Art Museum and National Portrait Gallery.
Provenance:
The Ellen Hulda Johnson papers were donated in 1994, 1998, 2019 and 2021 by the estate of Ellen Hulda Johnson via exectutor Athena Tacha.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington D.C. Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Librarians -- Ohio  Search this
Authors -- Ohio  Search this
Art critics -- Ohio  Search this
Art historians -- Ohio -- Oberlin  Search this
Educators -- Ohio -- Oberlin  Search this
Topic:
Art, Scandinavian  Search this
Art -- Study and teaching  Search this
Art, Modern -- 19th century -- Study and teaching  Search this
Art, Modern -- 20th century -- Study and teaching  Search this
Pop art  Search this
Women authors  Search this
Women art critics  Search this
Women art historians  Search this
Women educators  Search this
Function:
Artist colonies -- Georgia
Citation:
Ellen Hulda Johnson papers, 1872-2018, bulk 1921-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.johnelle
See more items in:
Ellen Hulda Johnson papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94183bf07-6dce-4777-903c-a590c03214ce
EDAN-URL:
ead_collection:sova-aaa-johnelle
Online Media:

Portrait of Whistler

Artist:
Paul Cesar Helleu (1859-1927)  Search this
Medium:
Drypoint; ink on paper
Dimensions:
H x W: 33.6 x 25.3 cm (13 1/4 x 9 15/16 in)
Type:
Print
Origin:
France
Date:
late 19th century
Topic:
drypoint  Search this
portrait  Search this
France  Search this
American Art  Search this
Charles Lang Freer collection  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1897.103
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye302b16e30-5c8b-4d09-b929-0816efe8b4b6
EDAN-URL:
edanmdm:fsg_F1897.103

Portrait of George W. Whistler

Artist:
W.G. Jackman (fl. 1841-1860)  Search this
Medium:
Steel engraving; ink on paper
Dimensions:
H x W: 15.4 x 11.2 cm (6 1/16 x 4 7/16 in)
Type:
Print
Origin:
United States
Date:
mid 19th century
Topic:
engraving (printing process)  Search this
portrait  Search this
United States  Search this
American Art  Search this
Charles Lang Freer collection  Search this
Credit Line:
Gift of Charles Lang Freer
Accession Number:
F1907.632
Restrictions & Rights:
Usage conditions apply
Related Online Resources:
Google Cultural Institute
See more items in:
Freer Gallery of Art and Arthur M. Sackler Gallery Collection
Data Source:
Freer Gallery of Art and Arthur M. Sackler Gallery
GUID:
http://n2t.net/ark:/65665/ye39c8a6c54-fc28-4634-b05a-20d21ade448e
EDAN-URL:
edanmdm:fsg_F1907.632

William Merritt Chase papers, circa 1890-1964

Creator:
Chase, William Merritt, 1849-1916  Search this
Subject:
De Voll, F. Usher  Search this
Art Students League (New York, N.Y.)  Search this
Shinnecock Summer School of Art  Search this
Art Club of Philadelphia  Search this
Type:
Scrapbooks
Photographs
Citation:
William Merritt Chase papers, circa 1890-1964. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Study and teaching  Search this
Painters -- New York (State) -- New York  Search this
Art, American  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7388
(DSI-AAA_SIRISBib)209545
AAA_collcode_chaswill
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209545
Online Media:

Victor D. Spark papers, circa 1830-1983, bulk 1930-1970

Creator:
Spark, Victor D. (Victor David), 1898-1991  Search this
Subject:
Clonney, James Goodwyn  Search this
Prendergast, Maurice Brazil  Search this
Hardy, Jeremiah Pearson  Search this
Copley, John Singleton  Search this
Engelhard, Charles W., Jr.  Search this
Frankenstein, Alfred V. (Alfred Victor)  Search this
Moran, Thomas  Search this
Berliner, Jacob  Search this
Medina, Leon  Search this
Heade, Martin Johnson  Search this
Grigaut, Hubert L.  Search this
Lehman, Robert  Search this
Hardy, Charlotte  Search this
Shinn, Everett  Search this
Sully, Thomas  Search this
Moran, Ruth B.  Search this
Peale, Rembrandt  Search this
San Diego Arts Society  Search this
Type:
Photographs
Citation:
Victor D. Spark papers, circa 1830-1983, bulk 1930-1970. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios -- Photographs  Search this
Art, Modern -- 20th century -- United States  Search this
Art, Modern -- 19th century -- United States  Search this
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Art, American  Search this
Theme:
Art Gallery Records  Search this
Art Market  Search this
Record number:
(DSI-AAA_CollID)7451
(DSI-AAA_SIRISBib)209609
AAA_collcode_sparvict
Theme:
Art Gallery Records
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209609
Online Media:

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Eight (Group of American artists)  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

American art : exhibition April 23 - June 18, 2005

Author:
Owen Gallery  Search this
Subject:
Owen Gallery  Search this
Physical description:
80 p. : col. ill. ; 23 x 23 cm
Type:
Exhibitions
Catalogs
Date:
2005
C2005
19th century
20th century
Topic:
Art, American  Search this
Call number:
N6510 .A54 2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_765558

Landscapes and Containers: A Conversation

Creator:
Smithsonian American Art Museum  Search this
Type:
YouTube Videos
Uploaded:
2013-11-22T05:15:00.000Z
YouTube Category:
Education  Search this
Topic:
Art, American  Search this
See more by:
americanartmuseum
Data Source:
Smithsonian American Art Museum
YouTube Channel:
americanartmuseum
EDAN-URL:
edanmdm:yt_D_pm7HxNOEU

Catalogue of original paintings, drawings, and watercolors in the Robert B. Honeyman, Jr. Collection [Bancroft Library, University of California, Berkeley] compiled by Joseph Armstrong Baird, Jr

Author:
Baird, Joseph Armstrong  Search this
Author:
Honeyman, Robert B  Search this
Bancroft Library Friends  Search this
Subject:
Honeyman, Robert B Art collections  Search this
Bancroft Library Art collections  Search this
Physical description:
vii, 196 pages 28 cm
Type:
Catalogs
Catalogues
In art
Place:
California
West (U.S.)
Berkeley
Californie
West United States
Date:
1968
19th century
19e siècle
Topic:
Art, American  Search this
Art  Search this
Art américain  Search this
Art museums  Search this
Art--Private collections  Search this
In art  Search this
Dans l'art  Search this
Call number:
N5220.H64 B3X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_8186

Precursors of modernism, 1860-1930

Author:
Center for Inter-American Relations Art Gallery  Search this
Physical description:
60 pages illustrations (part color) 21 cm
Type:
Exhibitions
Expositions
Exhibition catalogues
Catalogues d'exposition
Exhibition catalogs
Date:
1967
19th century
20th century
19e siècle
20e siècle
Topic:
Art, American  Search this
Art, Canadian  Search this
Art, Latin American  Search this
Art américain  Search this
Art latino-américain  Search this
Call number:
N6501 .C39
N6501.C39
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_8984

Oral history interview with Una E. Johnson, 1971 Jan. 5

Interviewee:
Johnson, Una E.  Search this
Interviewer:
Cummings, Paul  Search this
Subject:
Schniewind, Carl Oscar  Search this
Brooklyn Museum  Search this
Type:
Sound recordings
Interviews
Drawings -- 19th century
Drawings -- 20th century
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Una E. Johnson, 1971 Jan. 5. Archives of American Art, Smithsonian Institution.
Topic:
Art, American  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Printmakers  Search this
Theme:
Women  Search this
Record number:
(DSI-AAA_CollID)12158
(DSI-AAA_SIRISBib)212752
AAA_collcode_johnso71
Theme:
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212752
Online Media:

Oral history interview with Una E. Johnson

Interviewee:
Johnson, Una E.  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Brooklyn Museum  Search this
Schniewind, Carl Oscar, 1900-1957  Search this
Extent:
2 Sound tape reels (Sound recroding , 5 in.)
140 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Drawings
Date:
1971 Jan. 5
Scope and Contents:
An interview of Una Johnson conducted 1971 Jan. 5, by Paul Cummings, for the Archives of American Art. She discusses her tenure as Head Curator of Prints and Drawings at the Brooklyn Museum during the 1940s, 1950s, and 1960s.
Biographical / Historical:
Una E. Johnson (1905-1997) was a curator and art historian from Dayton, Iowa. She was Head Curator of Prints and Drawings at the Brooklyn Museum from 1942-1969.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Art historians -- New York (State) -- New York -- Interviews  Search this
Topic:
Art, American  Search this
Curators -- New York (State) -- New York -- Interviews  Search this
Printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Drawings -- 19th century
Drawings -- 20th century
Identifier:
AAA.johnso71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw981db38e7-5827-42e4-96a1-295aa910bb3b
EDAN-URL:
ead_collection:sova-aaa-johnso71
Online Media:

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