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Sunset Song

Artist:
Susan Philipsz, British, b. Glasgow, Scotland, 1965  Search this
Medium:
Sound installation
Dimensions:
running time: 00:08:00
Type:
Audio
Date:
2003
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum purchase through the contributions of members of the Contemporary Acquisitions Council and the Joseph H. Hirshhorn Purchase Fund, 2009
Accession Number:
09.12
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2a9dbc3fc-7ffe-4d89-84c8-19e6098ee511
EDAN-URL:
edanmdm:hmsg_09.12

Still Life

Artist:
Martyl, American, b. St. Louis, Missouri, 1917–2013  Search this
Medium:
Oil and casein on fiberboard
Dimensions:
24 x 29 15/16 in. (61 x 76 cm)
Type:
Painting
Date:
1940
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3371
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2b5ac3f98-9cc7-4af4-9313-648987403095
EDAN-URL:
edanmdm:hmsg_66.3371

Three and One

Artist:
Jesús Rafael Soto, French, b. Ciudad Bolívar, Venezuela, 1923–2005  Search this
Medium:
Wood, paint, metal, and nylon
Dimensions:
Overall (irreg): 67 7/8 x 43 3/8 x 24 in. (172.4 x 110.2 x 61 cm)
Type:
Sculpture
Date:
1966
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981
Accession Number:
86.4423
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2d00e530e-0b83-4812-98fa-3a179671783e
EDAN-URL:
edanmdm:hmsg_86.4423

Leon Kroll papers

Creator:
Kroll, Leon, 1884-1974  Search this
Names:
Beal, Gifford, 1879-1956  Search this
Biddle, George, 1885-1973  Search this
Bishop, Isabel, 1902-1988  Search this
Bruce, Edward, 1879-1943  Search this
Faulkner, Barry, 1881-1966  Search this
Glackens, William J., 1870-1938  Search this
Henri, Robert, 1865-1929  Search this
Langsam, Julie  Search this
Manship, Paul, 1885-1966  Search this
Nichols, Hobart, 1869-1962  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Sterne, Maurice, 1878-1957  Search this
Williams, Esther, 1907-1969  Search this
Extent:
8.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Interviews
Drawings
Date:
circa 1900-1988
Summary:
The papers of realist painter, muralist, and educator Leon Kroll date from circa 1900 to 1988 and measure 8.7 linear feet. The collection documents Kroll's painting career, teaching, and active participation in numerous art organizations. Over one-half of the collection is correspondence with artists, schools, galleries, museums, patrons, arts organizations, and others. Also found are scattered biographical material, writings and notes, legal and financial records, exhibition catalogs, clippings, other printed material, photographs of Kroll and colleagues, loose drawings and nine sketchbooks.
Scope and Content Note:
The papers of realist painter, muralist, and art instructor Leon Kroll date from circa 1900 to 1988 and measure 8.7 linear feet. The collection documents Kroll's painting career, teaching, and active participation in numerous art organizations. Over one-half of the collection is correspondence with artists, schools, galleries, museums, patrons, arts organizations, family members, and others. Also found are scattered biographical material, writings and notes, legal and financial records, exhibition catalogs, clippings, other printed material, photographs of Kroll and colleagues, loose drawings, and nine sketchbooks.

Biographical material contains chronologies, biographical essays, awards, price lists, interview transcripts, and a file about the Committee on Government and Art. More than one-half of the collection consists of Kroll's personal and professional correspondence with artists such as Gifford Beal, George Biddle, Isabel Bishop, Barry Faulkner, William Glackens, Robert Henri, Paul Manship, Hobart Nichols, Eugene Speicher, Maurice Stern, Esther Williams, and many others. Additional correspondence is with art critics, curators, dealers, students, patrons, schools, museums, and numerous arts organizations. There is also extensive correspondence with arts administrators regarding government art projects, especially his friend and fellow artist Edward Bruce, Director of the U. S. Treasury Department's Section for Fine Arts.

Writings and notes by Leon Kroll including autobiographical essays, drafts of lectures and speeches, lists, and other scattered notes. Also found is a small amount of writings by others, including an essay by Julia Langsam describing her experience as an artist's model for Kroll. Legal and financial records include contracts, loan agreements, art sales receipts, and several ledgers recording consignments and monthly receipts and expenditures. One ledger specifically documents financial transactions for Kroll's mural commissions for the Justice Department and the Worcester War Memorial.

Printed material contains numerous news clippings about Kroll and his work and includes several articles written by Kroll. Also found are exhibition announcements and catalogs for Kroll's solo exhibitions, material about the Worcester War memorial, and miscellaneous printed items.

Photographs include one of Kroll with his family, Kroll in his studio and working on murals, and several of him with other artists as jurors for art exhibitions. Artists pictured include Isabel Bishop, Reginal Marsh, John Sloan, Raphael Soyer, Eugene Speicher, and others. Also found are photographs of Edward Bruce, as well as photographs of exhibitions, artwork by Leon Kroll, and artwork by others. All of the original artwork in this collection is by Leon Kroll and includes loose drawings and ten sketchbooks containing drawings of landscapes, figures, portraits, and animals.
Arrangement:
The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Material, 1906-1977 (Boxes 1, 7; 0.4 linear feet)

Series 2: Correspondence, 1905-1988 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Writings and Notes, circa 1920s-1972 (Box 4-5, 7; 0.7 linear feet)

Series 4: Legal and Financial Records, circa 1914-1985 (Boxes 5, 7; 1.0 linear feet)

Series 5: Printed Material, circa 1920s-1987 (Boxes 5-6, 8-9; 0.7 linear feet)

Series 6: Photographs, circa 1900-1979 (Boxes 6, 8-10; 1.7 linear feet)

Series 7: Artwork, circa 1910-1950s (Boxes 6, 8; 0.4 linear feet)
Biographical Note:
Leon Kroll (1884-1974) was a leading realist painter during the 1920s and 1930s.

Born in New York City, Kroll attended classes at the Art Students League as a teenager, and studied painting with John Henry Twachtman. In the early 1900s he began taking classes at the National Academy of Design, where he won student prizes, and had his first major exhibition in 1906. In 1908 he won a scholarship to study art in Paris and attended the Académie Julian, studying at the atelier of Jean-Paul Laurens. Through he practiced realism, Kroll was also influenced by French impressionist painters, specifically Paul Cézanne. While in Paris he also met Genevieve (Viette) Domec. They married later in 1923 and had one daughter, Marie-Claude.

Upon his return to New York in 1910, Kroll had a one man show of his Paris work at the National Academy where he received critical acclaim. The next year he began teaching at the National Academy of Design. During his career, he also taught at the Maryland Institute, Art Institute of Chicago, the Pennsylvania Academy of Fine Arts, and was a guest instructor and lecturer at several other schools.

Kroll was part of a circle of New York artists that included several members of "The Eight", and he was especially close with Robert Henri, William Glackens, George Bellows, and Eugene Speicher. During his time in Europe he also became friends with Marc Chagall and Robert and Sonia Delaunay. He exhibited at the Armory Show in 1913 and during the next few decades won numerous major national and international prizes in painting, including first prize at the 1936 Carnegie International Exhibition. He had his first retrospective exhibition at the Worcester Art Museum in 1937. Kroll was especially known for his paintings of female nudes, but also painted New York City street scenes, New England landscapes, and portraits. Beginning in the late 1930s he was commissioned to paint murals at public buildings including, among others, the U. S. Department of Justice Building, the war memorial in Worcester, Massachusetts, and the auditorium at Johns Hopkins University.

Throughout his career Kroll was a very active member of professional arts organizations. He was an Associate and later a Academician at the National Academy of Design, and his memberships included the New Society of Artists; American Society of Painters, Sculptors, and Gravers; Artists Equity Association; Four Arts Aid Association; and the National Institute of Arts and Letters among others. He also served as a board officer for many of these organizations. Kroll was active in the federal arts programs from the 1930s to the 1950s and close friends with Edward Bruce, director of the U.S. Treasury Department's Section for Fine Arts.

Kroll maintained a studio in New York City and spent summers at his home and studio at Folly Cove, Gloucester, Massachusetts. Leon Kroll died in 1974 at the age of 89.
Provenance:
Leon Kroll donated a portion of his papers in 1968. His widow, Genevieve Kroll, donated the rest of the papers in 1976. Two additions were donated in 2019, via Cory Churches and the Estate of Grace Pugh, both descendants of Kroll.
Restrictions:
This collection is open for research. Access to 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.
Occupation:
Educators -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Interviews
Drawings
Citation:
Leon Kroll papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.krolleon
See more items in:
Leon Kroll papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9795a1261-7717-4f72-baff-b0ec0f55b003
EDAN-URL:
ead_collection:sova-aaa-krolleon
Online Media:

S. Lane Faison papers

Creator:
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Names:
Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section  Search this
Carnegie International  Search this
United States. Office of Strategic Services. Art Looting Intelligen Unit  Search this
Williams College -- Faculty  Search this
Extent:
5.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1922-1981
bulk 1950-1976
Summary:
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.
Scope and Contents:
The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.

Six folders of scattered correspondence relate to Faison's teaching, lectures, and writings.

Writings include bound student notebooks, lecture notes, typescript drafts, published articles, and material related to his book Handbook of the Collection: Williams College Museum of Art. Eighteen bound notebooks are filled with Faison's college class notes. There are typescript drafts of Faison's articles and speeches, as well as printed versions. Papers relating to Faison's book Handbook of the Collection: Williams College Museum of Art include several drafts, a correction copy, and a folder of illustrations to accompany the text.

Teaching files consist of course files containing miscellaneous notes for classes taught by Faison. The syllabi for classes he taught are filed separately.

Subject files are arranged into three groups: Monuments Men/ALIU files; projects and exhibitions files, and general research files. There are only two folders relating to Faison's World War II work in the ALIU. They contain photographs of looted artwork and documents about the controversial decision to ship recovered artwork to the U.S. for storage in the National Gallery in Washington, D.C. Projects and exhibitions files document Faison's curatorial work on the Oberlin Project (a traveling exhibition of college art) and the Carnegie International Exhibition, and other miscellaneous collaborative projects. Research files contain documents organized according to Faison's original folder headings and include miscellaneous images and clippings loosely grouped together by topic: architecture, advertising, housing, poster design, etc.

Artist files are Faison's documents on specific artists that mostly contain images of artwork, clippings and articles. Artist files were mostly used for teaching and reference.

Printed materials include news clippings, exhibition catalogs, press releases, reports and other miscellaneous materials.
Arrangement:
This collection is arranged in 6 series.

Missing Title

Series 1: Correspondence, 1949-1979 (0.1 linear feet; Box 1, 6 folders)

Series 2: Writings, 1928-1979 (1.7 linear feet; Box 1-2, 7)

Series 3: Teaching Files, 1935-1976 (0.7 linear feet; Box 2-3)

Series 4: Subject Files, 1923-1981 (0.6 linear feet; Box 3, 7)

Series 5: Artist Files, 1922-1976 (1.5 linear feet; Box 3-5, 7)

Series 6: Printed Materials, circa 1935-1980 (0.5 linear feet; Box 6-7)
Biographical / Historical:
Samson Lane Faison Jr. (1907-2006) was an art history professor at Williams College and director of the Williams College Museum of Art, Massachusetts. During World War II, Faison served in the Art Looting Investigation Unit of the Office of Strategic Services, an intelligence unit related to the Monuments, Fine Arts and Archives Division of the U.S. Army.

Samson Lane Faison Jr. was born in Washington, D.C. on November 16, 1907 to Samson Lane Faison Sr., a brigadier general in the United States Army, and Eleanor Sowers Faison. Faison graduated from Williams College in 1929, completed his M.A. at Harvard University in 1930, and a M.F.A. from Princeton in 1932. Shortly thereafter, he began teaching at Yale as an associate professor of art. In 1935, Faison married Virginia Gordon Weed (d. 1997) and they had four sons: Gordon, George, Christopher and Samson. Faison joined the Williams College faculty in 1936 and became head of the art department in 1940.

During World War II, Faison initially served as an instructor in U.S. Naval Air Force. From 1945-1946, however, Faison was a member of the Office of Strategic Services' Art Looting Investigation Unit (ALIU) responsible for investigating and interrogating Nazis and art dealers who were involved in the systematic looting of fine arts and antiquities across Europe. The ALIU investigated Karl Haberstock, Hitler's primary dealer and Hermann Voss, director of Hitler's Führermuseum in Linz, Austria where Hitler planned to house and display plundered art. Faison was the primary author of the report on the Führermuseum and also interrogated Göring's curator Walter Andreas Hofer. The ALIU issued twelve Detailed Interrogation Reports on Nazi looting activities which were used at the Nuremburg Trials.

During the recovery efforts, the U.S. government decided to ship 202 paintings that had been stolen by the Nazis from several Berlin museums in Germany (notably the Kaiser Friedrich Museum now known as the Bode Museum) to the U.S. for safekeeping at the National Gallery of Art in Washington, D.C. The government argued that the storage conditions in Germany were poor. Twenty-five of the Monuments Men signed a petition, known as the Wiesbaden Manifesto, against moving the paintings out of Germany. The Berlin Paintings were transported to the U.S. anyway and went on display at the National Gallery of Art before being put in storage. Faison was one of ninety-five American art historians who signed a second resolution in protest, demanding the immediate return of the paintings. The artwork, however, was not returned until 1948.

After the war, Faison resumed his professorship and his position as art department chair at Williams College and became director of the Williams College Museum of Art in 1948. In 1950, Faison returned to Germany as the last Director of the Munich Central Collecting Point, one of several recovered artwork repositories in Europe established by the U.S. State Department for inventory, research, and repatriation. Faison's orders were to close down the Munich Collecting Point, which took nine months.

Faison continued to teach at Williams until his retirement. Faison and two of his colleagues, William H. Pierson Jr. and Whitney S. Stoddard, were the three art history professors at Williams College nicknamed the "Holy Trinity," due to their reputation for launching the careers of their students to stratospheric heights. Several of their students went on to become directors at prestigious museums such as the Museum of Modern Art and the Guggenheim in New York, the National Gallery of Art in Washington, D.C. and the Art Institute of Chicago. The New York Times created the moniker "Williams Mafia" in reference to the Williams alumni that were taught by the "Holy Trinity" and whom went on to become prominent members of the art world.

Faison was made a Chevalier of French Legion of Honor in 1952. He received a Guggenheim Fellowship for 1960-1961 and Williams college awarded him a Doctor of Letters in 1971. He stepped down from his position as art department chair in 1969, and retired from his position as the director of the Williams College Museum of Art in 1976. Faison died in Williamstown, MA in 2006 at the age of 98.
Related Materials:
The Archives of American Art also holds an oral history interview of S. Lane Faison conducted on December 14, 1981 by Robert F. Brown for the Archives of American Art's oral history program.

Papers of S. Lane Faison, 1945-1986, are also located at the National Gallery of Art.
Provenance:
The S. Lane Faison papers were donated to the Archives of American Art by S. Lane Faison, Jr. in 4 installments from 1978 to 1982.
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.
Occupation:
Art historians -- Massachusetts  Search this
Topic:
World War, 1939-1945 -- Art and the war  Search this
Art -- History -- Study and teaching  Search this
Genre/Form:
Photographs
Citation:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.faislane
See more items in:
S. Lane Faison papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cd7ad8c2-4c4b-4b26-8bd8-00d7e0c56dfc
EDAN-URL:
ead_collection:sova-aaa-faislane
Online Media:

Rythm Mastr: Every Beat of My Heart

Illustrated by:
Kerry James Marshall, American, born 1955  Search this
Written by:
Kerry James Marshall, American, born 1955  Search this
Published by:
Carnegie Museum of Art, American, founded 1895  Search this
Medium:
ink on paper (fiber product)
Dimensions:
H x W (closed): 17 3/16 × 11 1/2 in. (43.7 × 29.2 cm)
Type:
comics
Place made:
United States, North and Central America
Date:
1999-2000
Topic:
African American  Search this
Art  Search this
Comics and graphic novels  Search this
Design  Search this
Graphic design  Search this
Social reform  Search this
Credit Line:
Collection of the Smithsonian National Museum of African American History and Culture
Object number:
2020.57.3.1ab
Restrictions & Rights:
© Kerry James Marshall
Permission required for use. Proper usage is the responsibility of the user.
See more items in:
National Museum of African American History and Culture Collection
Classification:
Visual Arts
Memorabilia and Ephemera
Data Source:
National Museum of African American History and Culture
GUID:
http://n2t.net/ark:/65665/fd560a6611a-5963-4da8-b184-cbfe88b3854b
EDAN-URL:
edanmdm:nmaahc_2020.57.3.1ab
Online Media:

Madeleine Grynstejn, Mordes Lecture, Carnegie International, 1999/2000 (HMSG0277A-B)

Container:
Box 4 of 5
Type:
Archival materials
Collection Restrictions:
Original recordings are permanently restricted. Contact the Smithsonian Institution Libraries for access to reference copies, Transferring office; 7/7/2010 memorandum, Wright to Brooke; Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Accession 10-140, Hirshhorn Museum and Sculpture Garden, Audiotapes
See more items in:
Audiotapes
Audiotapes / Box 4
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-fa10-140-refidd1e4275

Carnegie International Exposition

Collection Creator:
Lisle, Laurie  Search this
Container:
Box 1, Folder 15
Type:
Archival materials
Date:
1933-1938
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson
Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson / Series 1: Research Files on Georgia O'Keeffe / 1.2: Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c669287a-8896-4fb5-8e29-cb6b41f8f62e
EDAN-URL:
ead_component:sova-aaa-lisllaur-ref17

Motherwell, Robert - Biographical Materials (Zurich File)

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 60, Folder 45
Type:
Archival materials
Date:
1977
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Collection 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.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery Records and André Emmerich Papers
André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94bcf57f6-30a8-40a6-8428-e3ad8d52ccca
EDAN-URL:
ead_component:sova-aaa-andremmg-ref3005
2 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Motherwell, Robert - Biographical Materials (Zurich File) digital asset number 1
  • View Motherwell, Robert - Biographical Materials (Zurich File) digital asset number 2

Motherwell, Robert - Correspondence (Zurich File)

Collection Creator:
André Emmerich Gallery  Search this
Container:
Box 60, Folder 48
Type:
Archival materials
Date:
1976-1978
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
Collection 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.
Collection Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
See more items in:
André Emmerich Gallery Records and André Emmerich Papers
André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b22b43a7-6975-4111-bde2-eec155362cd9
EDAN-URL:
ead_component:sova-aaa-andremmg-ref3008
4 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Motherwell, Robert - Correspondence (Zurich File) digital asset number 1
  • View Motherwell, Robert - Correspondence (Zurich File) digital asset number 2
  • View Motherwell, Robert - Correspondence (Zurich File) digital asset number 3
  • View Motherwell, Robert - Correspondence (Zurich File) digital asset number 4

Carnegie International Exhibition

Collection Creator:
Faison, S. Lane (Samson Lane), 1907-2006  Search this
Container:
Box 3, Folder 28
Type:
Archival materials
Date:
circa 1958
Scope and Contents:
Oversized material housed in Box 7, Folder 5.
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.
See more items in:
S. Lane Faison papers
S. Lane Faison papers / Series 4: Subject Files / 4.2: Projects & Exhibitions
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw998d3f487-5d06-4af8-8b24-6d5e871105fa
EDAN-URL:
ead_component:sova-aaa-faislane-ref161

Dorothy Varian papers

Creator:
Varian, Dorothy, 1895-1985  Search this
Names:
Bacon, Peggy, 1895-1987  Search this
Brook, Alexander, 1898-1980  Search this
Karfiol, Bernard, 1886-1952  Search this
Klienert, Herminie  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marshall, Lenore, 1897-1971  Search this
Peirce, Waldo, 1884-1970  Search this
Schmidt, Katherine, 1898-1978  Search this
Schulte, Antoinette E., 1897-1981  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Date:
circa 1902-1984
Summary:
The papers of painter Dorothy Varian date from circa 1902 to 1984 and measure 2.3 linear feet. This collection documents Varian's life primarily through scattered biographical material; correspondence with family, friends, artists and art galleries; personal business records; a few writings; exhibition catalogs, news clippings, and other printed material; photographs of Varian, her friends, and artwork; and original sketches by Varian and fellow artist Peggy Bacon.
Scope and Contents:
The papers of painter Dorothy Varian date from circa 1902 to 1984 and measure 2.3 linear feet. This collection documents Varian's life primarily through scattered biographical material; correspondence with family, friends, artists and art galleries; personal business records; a few writings; exhibition catalogs, news clippings, and other printed material; photographs of Varian, her friends, including Peggy Bacon, Alex Brook, Bernard Karfiol, and Yasuo Kuniyoshi, and artwork; and original sketches by Varian and fellow artist Peggy Bacon.

Varian's earliest correspondence is with her mother and her cousin Jessie, detailing her life as an artist in Paris. Also found is extensive correspondence with with Peggy Bacon, Hermine Kleinert, Lenore G. Marshall, Waldo Pierce, Katherine Schmidt, Antoinette Schulte, and the Renoir family.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1920-1980 (5 folders; Box 1)

Series 2: Correspondence, 1917-1981 (0.8 linear feet; Box 1)

Series 3: Writings, 1940s-1960s (3 folders; Box 1)

Series 4: Personal Business Records, 1931-1984 (9 folders; Box 1)

Series 5: Printed Material, 1916-1981 (0.5 linear feet; Box 2)

Series 6: Photographs, circa 1902-1961 (13 folders; Boxes 2-3)

Series 7: Artwork, circa 1912-1924 (11 folders; Boxes 2-3)
Biographical / Historical:
Dorothy Varian (1895-1985) was a painter in New York City, and Woodstock, NY. Varian was born in New York City on April 26, 1895; daughter of Eugene W. and Helen Estelle Varian. She dropped out of high school at 15 and entered Cooper Union where she graduated with honors. After Cooper Union she attended the Art Students League. While a student she inadvertently won first and second prize in a local art contest sponsored by movie producer, William Fox. She used the prize money to rent her first studio in Woodstock.

In 1920, her cousins Jessie and C. Vanderbilt Barton provided her the means to study in Paris. Varian's first one-man show was held in 1922 at the Durand-Ruel Galleries in Paris. A close friend of Varian's during this time was Jean Renior, son of Pierre-Auguste Renoir. Within the first year after she returned permanently to the United States, Varian had exhibitions at the Whitney Club, Whitney Galleries, and the Downtown Galleries. Edith Halpert, director of the Downtown Galleries became Varian's art dealer. Varian used the money from her work to buy a home in Woodstock which became her primary painting studio. The majority of her circle was formed during her time at the Art Students League and during her years in Paris. Varian also met many artists who were living and working alongside her in Woodstock. Throughout her life, she stayed in contact with many of these friends including Peggy Bacon, Alex Brook, Georgina Klitgaard, Frederick Dana Marsh, Lenore G. Marshall, and Waldo Pierce.

Varian worked primarily with watercolor and oil painting. Varian's work has been exhibited at the Metropolitan Museum of Art, Corcoran Galleries, Carnegie International, Whitney Museum of American Art, Association of American Artists Gallery, Brooklyn Museum, and several universities across the country. Over the course of her career, Varian held fifteen solo exhibitions and received many awards including the Kuniyoshi Award in 1975. Varian died in 1985 at the age of 90.
Related Materials:
Also found in this repository is an interview of Dorothy Varian conducted 1980 Dec. 6-7, by Avis Berman, for the Archives of American Art.
Provenance:
The collection was donated to the Archives of American Art in installments by Dorothy Varian in 1972, 1978, and 1981. An additonal installment was donated in 1986 by the Dorothy Varian estate, via Robert Plate.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women artists  Search this
Women painters  Search this
Genre/Form:
Photographs
Sketches
Citation:
Dorothy Varian papers, circa 1902-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.varidoro
See more items in:
Dorothy Varian papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw973ab1ef8-e370-4886-9860-76f592d50236
EDAN-URL:
ead_collection:sova-aaa-varidoro

Chronology

Collection Creator:
Curry, John Steuart, 1897-1946  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
1937
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.
Collection 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.
Collection Citation:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
See more items in:
John Steuart Curry and Curry family papers
John Steuart Curry and Curry family papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97865de92-6add-41ea-9604-5ba85ae8a357
EDAN-URL:
ead_component:sova-aaa-currjohn-ref19
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Encyclopedia Entries

Collection Creator:
Curry, John Steuart, 1897-1946  Search this
Container:
Box 1, Folder 3
Type:
Archival materials
Date:
circa 1936-1946
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.
Collection 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.
Collection Citation:
John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.
See more items in:
John Steuart Curry and Curry family papers
John Steuart Curry and Curry family papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95c2fa921-27c1-447d-a5a4-942f24ac366c
EDAN-URL:
ead_component:sova-aaa-currjohn-ref20
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  • View Encyclopedia Entries digital asset number 4

Mark Dion at the Carnegie Museum of Art

Collection Creator:
De Land, Colin, 1955-2003  Search this
Container:
Box 9, Folder 10
Type:
Archival materials
Photographs [31027000764718]
Date:
1999 November
Scope and Contents:
Includes photos of Mark Dion installations Ornithological Selections from the Collections of Carnegie Museum of Art and Alexander Wilson—Studio at the Carnegie Museum of Art as part of the Carnegie International.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings and born-digital records in this collection must use access copies. Contact References Services for more information.
Collection 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.
Collection Citation:
Colin de Land papers, 1968-2008, bulk 1980-2003. Archives of American Art, Smithsonian Institution.
See more items in:
Colin de Land collection
Colin de Land collection / Series 1: Photographic Material / 1.1: Snapshots
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c2414e36-6d53-4e5a-b0af-e03a651151d7
EDAN-URL:
ead_component:sova-aaa-delacoli-ref518

Biographical Notes and Articles

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1943, undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection 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.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 1: Biographical Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f23affb0-bbba-4cd3-aa75-78849e5d8bca
EDAN-URL:
ead_component:sova-aaa-beauceci-ref16
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Carnegie International, 1995

Collection Creator:
Susanne Hilberry Gallery  Search this
Hilberry, Susanne, 1943-2015  Search this
Container:
Box 1, Folder 14
Type:
Archival materials
Date:
1996
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. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
Collection 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.
Collection Citation:
Susanne Hilberry Gallery records, 1964-2017, bulk 1976-2016. Archives of American Art, Smithsonian Institution.
See more items in:
Susanne Hilberry Gallery records
Susanne Hilberry Gallery records / Series 1: Artist Files / Richard Artschwager
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96f8f830d-5154-4723-b38d-083c9e2192fd
EDAN-URL:
ead_component:sova-aaa-susahilb-ref99

Glackens, William, Edith, and Ira

Collection Creator:
Roberts, Mary Fanton, 1871-1956  Search this
Container:
Box 1, Folder 52
Type:
Archival materials
Date:
1909-1947, undated
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 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.
Collection Citation:
Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.
See more items in:
Mary Fanton Roberts papers
Mary Fanton Roberts papers / Series 4: Art Correspondence/Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92c17e0e4-4e30-4782-9c2b-43147380a4a7
EDAN-URL:
ead_component:sova-aaa-robemary-ref72
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Ira and William Glackens papers

Creator:
Glackens, Ira, 1907-1990  Search this
Names:
Delaware Art Museum  Search this
Kraushaar Galleries  Search this
National Gallery of Art (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Williams College. Museum of Art.  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Barnes, Laura L., 1875-1966  Search this
Buckley, Charles E.  Search this
Bullard, E. John (Edgar John), 1942-  Search this
Dimock, Ira  Search this
Fitzgerald, Irene Dimock  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Kuhn, Walt, 1877-1949  Search this
Liff, Vivian  Search this
Luks, George Benjamin, 1867-1933  Search this
Morse, Stearns  Search this
Perlman, Bennard B.  Search this
Prendergast, Eugénie  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Schwab, Arnold T.  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, Helen Farr, 1911-2005  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Writings
Date:
circa 1900-1990
Summary:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Scope and Content Note:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)
Biographical Note:
Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.
Related Materials:
The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.
Separated Material:
Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.
Provenance:
The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.
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:
Illustrators -- Pennsylvania -- Philadelphia  Search this
Authors -- Pennsylvania -- Philadelphia  Search this
Painting, American  Search this
Eight (Group of American artists)  Search this
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- United States  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Photographs
Sound recordings
Writings
Citation:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.glacwill
See more items in:
Ira and William Glackens papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e2ec9396-dfbc-41e7-b16b-b26aab79ef34
EDAN-URL:
ead_collection:sova-aaa-glacwill
Online Media:

Glackens, William, Acceptance of Award from Carnegie International Exhibition

Collection Creator:
Glackens, Ira, 1907-1990  Search this
Extent:
1 Sound discs (lacquer)
Container:
Box 1, Folder 45
Type:
Archival materials
Sound discs (lacquer)
Date:
1936
Scope and Contents:
Includes a rough transcript of the WJZ radio recording of Glackens' remarks when accepting the award. Oversized material housed in Box 3, Folder 1.
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Ira and William Glackens papers
Ira and William Glackens papers / Series 3: Writings
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f4aaf474-8961-4171-b21d-a5f039fb8e59
EDAN-URL:
ead_component:sova-aaa-glacwill-ref124

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