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Art in industry, by Charles R. Richards; being the report of an industrial art survey conducted under the auspices of the National Society for Vocational Education and the Department of Education of the State of New York

Author:
Richards, Charles R (Charles Russell) 1865-1936  Search this
National Society for Vocational Education  Search this
New York (State) Department of Education  Search this
Physical description:
3 p. l., 499, [1] p. pl. 24 cm
Type:
Books
Place:
United States
Europe
Date:
1922
Topic:
Decorative arts  Search this
Technical education  Search this
Lighting, Architectural and decorative  Search this
Call number:
NK808.R5X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_243276

Van Rensselaer Bowier manuscripts, being the letters of Kiliaen Van Rensselaer, 1630-1643, and other documents relating to the colony of Rensselaerswyck. Tr. and ed. by A.J.F. van Laer, archivist. With an introductory essay by Nicolaas de Roever, late archivist of the city of Amsterdam; tr. by Mrs. Alan H. Strong

Author:
New York State Library  Search this
Rensselaer, Kiliaen van 1580?-1646  Search this
Van Laer, Arnold J. F (Arnold Johan Ferdinand) 1869-1955  Search this
Roever, Nicolaas de 1850-1893  Search this
Strong, Susan De Lancey Van Rennselaer "Mrs. Alan H. Strong."  Search this
Physical description:
909 p. facsims. 23 cm
Type:
Books
Sources
Place:
New York (State)
Rensselaerswyck
Date:
1908
Colonial period, ca. 1600-1775
Topic:
History  Search this
Call number:
F127.R32N52 1908
F127.R32N52 1908
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_214695

Young Ladies' Institute, Pittsfield, Mass., (painting)

Painter:
Unknown  Search this
Medium:
Mixed
Type:
Paintings
Owner/Location:
New York State Historical Association Lake Road, Route 80 Cooperstown New York 13326 Accession Number: N-340.61
Date:
Ca. 1850
Topic:
Architecture--Education  Search this
Cityscape--Massachusetts--Pittsfield  Search this
Primitive  Search this
Control number:
IAP 34070533
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_282229

Pastoral Scene, (painting)

Painter:
MacHarg, Alice  Search this
Medium:
Oil
Type:
Paintings
Owner/Location:
New York State History Collection, State Education Dept Rotterdam Industrial Park, Bldg. 8 Schenectady New York 12306
Topic:
Landscape  Search this
Occupation--Farm  Search this
Control number:
IAP 33240201
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_281098

President Obama's to do list / by Bryce Campbell, Quinten Campbell, Tara E. Davis, Samantha Medina, Anthony Purnell, Matthew Salmon, Newton Salmon, Shaneice Silvera

Artist:
Campbell, Bryce  Search this
Book designer:
Edwards, Ruth E.  Search this
Subject:
Obama, Barack  Search this
Physical description:
1 volume (43 unnumbered pages) : illustrations (some color), color photographs ; 30 cm
Type:
Specimens
Correspondence
Artists' books (books)
Smithsonian Libraries artists' books
Place:
New York (State)
New York
Date:
2009
Topic:
Teenagers' art  Search this
Teenagers' writings, American  Search this
Artists' books  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1035683

Portrait in a Minute: FDR - National Portrait Gallery

Creator:
National Portrait Gallery  Search this
Type:
Youtube videos
Uploaded:
2012-09-18T18:41:02.000Z
Topic:
Portraits  Search this
Youtube Category:
Education  Search this
See more by:
NatlPortraitGallery
YouTube Channel:
NatlPortraitGallery
Data Source:
National Portrait Gallery
EDAN-URL:
edanmdm:yt_fSkmoWYKVQQ

Design Talk | Garden of Secrets

Creator:
Cooper Hewitt, Smithsonian Design Museum  Search this
Type:
Youtube videos
Uploaded:
2019-06-19T19:18:24.000Z
Topic:
Design  Search this
Youtube Category:
Education  Search this
See more by:
cooperhewitt
YouTube Channel:
cooperhewitt
Data Source:
Cooper Hewitt, Smithsonian Design Museum
EDAN-URL:
edanmdm:yt_xYlwXFNte8A

Intangible Cultural Heritage: An International Dialogue, Part 1

Creator:
Smithsonian Center for Folklife and Cultural Heritage  Search this
Type:
Youtube videos
Uploaded:
2015-03-19T20:30:07.000Z
Topic:
Cultural property  Search this
Youtube Category:
Education  Search this
See more by:
smithsonianfolklife
YouTube Channel:
smithsonianfolklife
Data Source:
Smithsonian Center for Folklife and Cultural Heritage
EDAN-URL:
edanmdm:yt_jEIifbmm7rA

Emily Hall Tremaine papers

Creator:
Tremaine, Emily Hall, 1908-1987  Search this
Names:
Wadsworth Atheneum  Search this
Johnson, Philip, 1906-2005  Search this
Mondrian, Piet, 1872-1944  Search this
Von Romberg, Maximillian (Baron)  Search this
Extent:
8.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sound recordings
Video recordings
Date:
circa 1890-2004
Summary:
The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.
Scope and Contents:
The papers of art collector Emily Hall Tremaine measure 8.9 linear feet, date from circa 1890 to 2004, and document the development of Tremaine's seminal collection of modernist, pop, and contemporary art. The papers comprise biographical material including a sound recording, personal correspondence, art collection files, artist files, exhibition loan files including a video recording, and reproduction request files. Also found are two scrapbooks documenting Tremaine's first marriage to Baron Maximilian von Romberg; and photographs of Tremaine, her family and friends, and works of art from her collection.

Biographical material relates to the Hall, von Romberg, and Tremaine families, and includes a sound recording about the Tremaine family. Correspondence is with family members, including Tremaine's three husbands, her mother, and her sister Elizabeth, and includes Christmas cards with reproductions of artwork from Tremaine's collection.

Art collection files include inventory binders and document the purchase dates, prices, market value, and provenance of artwork purchased by the Tremaines. Artist files provide further detail on works by individual artists, and track the purchase, sale, trade, loan, and donation of many of those works. Of note is extensive documentation of the provenance, restoration, and sale of Piet Mondrian's Victory Boogie Woogie which was sold in 1988.

Exhibition loan files document loans from the Tremaine collection for exhibitions in the United States and abroad. Records of a 1984 Wadsworth Atheneum exhibition of artwork from the Tremaine collection include a video recording of a lecture by Philip Johnson. Requests for permission to reproduce images from the Tremaine collection document the extensive publication history of many of the works of art.

Two scrapbooks document the courtship and marriage of Emily Hall and Maximilian von Romberg and record von Romberg's passions for polo and aviation.

Photographic material primarily documents Tremaine's personal life, through portraits of Tremaine, her sister, and parents; wedding pictures from her marriage to von Romberg; photos of friends and members of Santa Barbara high society, including Clark Gable, Ruth and Walter Pidgeon, and Jeanne and Juan Reynal; and photos of the home Emily shared with von Romberg on the Brunninghausen Estate in Montecito, California. Two dismantled photograph albums include photos of artwork in the Tremaine collection.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Materials, circa 1910-1980 (7 folders; Box 1)

Series 2: Correspondence, circa 1905-1985 (0.4 linear feet; Box 1)

Series 3: Art Collection Files, circa 1950-1985 (0.6 linear feet; Boxes 1, 9)

Series 4: Artist Files, 1936-2004 (4.6 linear feet; Boxes 2-6, 9)

Series 5: Exhibition Loan Files, 1960-2001 (1.5 linear feet; Boxes 6-7)

Series 6: Reproduction Request Files, circa 1964-1989 (0.6 linear feet; Box 8)

Series 7: Scrapbooks, 1931-1937 (0.3 linear feet; Boxes 9-10)

Series 8: Photographic Materials, circa 1890-1997 (0.8 linear feet; Boxes 8, 10-11)
Biographical / Historical:
Art collector Emily Hall Tremaine (1908-1987) lived in New York City and Madison, Connecticut, and was known for having assembled one of the most noteworthy collections of post World War II art focused on modernist, pop, and contemporary artists.

Tremaine was born in Butte, Montana, to mining executive William Hubbard Hall and his wife, Elizabeth Smith Hall. Her first marriage to Baron Maximilian von Romberg was well publicized in the society pages of the time and ended with von Romberg's death in a plane accident in 1938. Tremaine's second marriage to sugar heir Adolph B. Spreckels, Jr., ended in divorce in 1940.

While Tremaine collected art in the 1930s, it was not until her 1945 marriage to industrial executive Burton Tremaine that she began acquiring works in earnest. Together, the Tremaines assembled a collection that initially focused on American and European modern artists and would eventually include emerging pop and contemporary art. Their first purchase was Piet Mondrian's unfinished painting, Victory Boogie Woogie, now owned by the Gemeentemuseum. The collection would eventually number over four hundred works of art and range from paintings by Picasso, Kandinsky, and Georges Braque to works by Jasper Johns, Claes Oldenburg, Roy Lichtenstein, and Jean-Michel Basquiat. While single pieces were sold, traded, or donated throughout Tremaine's active collecting years, the bulk of the collection was sold at auction in 1988 and 1991 to raise funds for the Emily Hall Tremaine Foundation. Tremaine died from complications of emphysema in 1987.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Emily Hall Tremaine conducted by Paul Cummings, January 24, 1973.
Provenance:
The papers were donated in 2005 by Tremaine's step-grandson, Burton G. Tremaine III.
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 in this collection must use access copies. Contact References 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:
Collectors -- Connecticut  Search this
Collectors -- New York (State) -- New York  Search this
Topic:
Art -- Collectors and collecting  Search this
Genre/Form:
Scrapbooks
Sound recordings
Video recordings
Citation:
Emily Hall Tremaine papers, circa 1890-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.trememil
See more items in:
Emily Hall Tremaine papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-trememil
Additional Online Media:

John McDonald Moore papers

Creator:
Moore, John McDonald, 1919-1999  Search this
Names:
New School for Social Research (New York, N.Y.)  Search this
Werblud, Elaine R. (Bobbie)  Search this
Extent:
21.5 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Date:
1948-2015
bulk 1968-1999
Summary:
The papers of art historian and educator John McDonald Moore measure 21.5 linear feet and date from 1948-2015, with the bulk dating from 1968-1999. Included are biographical material regarding Moore; his writings, including book proposals and lectures; correspondence regarding teaching and letters from students; voluminous notecards for lectures; and sound recordings of lectures.
Scope and Contents:
The papers of art historian and educator John McDonald Moore measure 21.5 linear feet and date from 1948-2015, with the bulk dating from 1968-1999. Included are biographical material regarding Moore; his writings, including book proposals and lectures; correspondence regarding teaching and letters from students; voluminous notecards for lectures; and sound recordings of lectures.

This collection documents Moore's career as an art historian and educator at the New School for Social research and his contribution to understanding the New York Art Scene from the late 1960s through the 1990s. It also provides insight on Elaine R. (Bobbie) Werblud's long career as Moore's teaching assistant. Materials include Moore's academic transcripts and diplomas; resumes; a 1989 teaching award; certificates; correspondence related to his education and courses he taught at NYU's Liberal Arts Extension and the New School for Social Research; draft manuscripts; academic papers; book proposals; handwritten and typed lectures; lecture notebooks including lecture and research notes; lecture notebooks maintained by Werblud; lecture notecards documenting research for Moore's course lectures and hand written lectures; course descriptions; flyers; clippings; photographs; exams; enrollment lists; a sound recording of Moore's Memorial service; and sound recordings of a sample of Moore's lectures from circa 1969-1998.
Arrangement:
The collection is arranged as 4 series.

Series 1: Biographical material, 1948-2015 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1959-1999 (0.2 linear feet; Box 1)

Series 3: Writing, circa 1960s-1986 (0.8 linear feet, Box 1-2)

Series 4: Teaching Material, circa 1967-2000 (20.3 linear feet, Box 2-25)
Biographical / Historical:
John McDonald Moore (1919-1999) was a lecturer in art history at the New School for Social Research in New York City from 1968 until his death in 1999. Moore was born in the state of Georgia, where he attended the High Museum School of Art. He served as an illustrator for the U.S. Army Air Force during World War II. After the war he worked as an advertising illustrator in New York. In 1961, Moore realized his true vocation was teaching. He began teaching part time at New York University, and in 1968 became a lecturer in art history at the New School, where he continued to teach until his death. There he met his wife, Elaine R. (Bobbie) Werblud, who became Moore's teaching assistant in 1970. Werblud was instrumental in supporting Moore's work through her extensive logging of course lectures in notebooks, transcribing lectures on notecards, recording weekly lectures, and organizing trips to exhibitions and artist studios, as well as studies abroad. From 1968-1971 Moore earned a B.A. and M.A. in art history at Godard College. Moore was an inspirational lecturer acclaimed by many New York artists who were his students, including Mary Frank and Ursula von Rydingsvard. The John McDonald Moore Memorial Lecture series at the Vera List Center for Art and Politics was established in his honor.
Separated Materials:
193 audio cassettes documenting 10 lecture courses taught by John McDonald Moore from 1971 through 1998 were transferred to the New School Libraries and Archives in 2019.
Provenance:
Donated in 2018 by Debra Werblud.
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 born-digital records or audiovisual recordings in this collection must use access copies. Contact References 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:
Art historians -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Citation:
John McDonald Moore papers, 1948-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moorjohn
See more items in:
John McDonald Moore papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-moorjohn

Biographical material

Collection Creator:
Moore, John McDonald, 1919-1999  Search this
Extent:
0.2 Linear feet (Box 1)
Type:
Archival materials
Date:
1948-2015
Scope and Contents:
Biographical material document John McDonald Moore's education at Goddard College in Plainfield, Vermont and the Art Students League of New York; the John Moore Fund which supported his teaching endeavors; and the John McDonald Moore Memorial fund that was set up around the time of his death in 1999 that supports the John McDonald Moore Memorial Lecture Series at the New School. Materials include correspondence related to Moore's attendance at Goddard College, the John Moore Fund, a letter of recommendation for his wife, Elaine R. (Bobbie) Werblud, and the John McDonald Moore Memorial fund and Lectures; resumes; transcripts; a teaching award Moore received in 1989; certificates including Moore's 1948 honorable discharge from the United States Army and his New York State teaching certificate; two diplomas including Moore's Bachelor of Arts (1967) and Master of Arts (1972) degrees from Goddard College; and a sound recording of Moore's memorial service in 1999.
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 born-digital records or audiovisual recordings 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:
John McDonald Moore papers, 1948-2015. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.moorjohn, Series 1
See more items in:
John McDonald Moore papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-moorjohn-ref1

Jacob Lawrence and Gwendolyn Knight papers

Creator:
Knight, Gwendolyn  Search this
Lawrence, Jacob, 1917-2000  Search this
Names:
Bearden, Romare, 1911-1988  Search this
Bocour, Leonard, 1910-1993  Search this
Dintenfass, Terry, 1920-  Search this
Eichenberg, Fritz, 1901-1990  Search this
Evergood, Philip, 1901-1973  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Extent:
25.35 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Date:
1816
1914-2008
bulk 1973-2001
Summary:
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.
Scope and Content Note:
The papers of African American painter and educator Jacob Lawrence and his wife, artist Gwendolyn Knight measure 25.35 linear feet and 0.001 GB and date from 1914 to 2008, with one item from 1816 and the bulk of the material dating from 1973 to 2001. The collection includes biographical material; correspondence including condolence letters to Gwendolyn Knight after Jacob Lawrence's death; writings by Jacob Lawrence and others; printed and digital material; photographs; personal business records; artwork; records from the Jacob Lawrence Catalogue Raisonné Project; materials related to the Jacob and Gwendolyn Knight Lawrence Foundation; professional files; and material related to awards and honors received by Jacob Lawrence and Gwendolyn Knight.

Biographical material includes appointment and address books; education and personal identification certificates and documents; awards, certificates, curriculum vitae, and chronologies; biographical material related to other individuals, including identification documents and memorial programs; and transcripts of interviews with Jacob Lawrence and Gwendolyn Knight.

The correspondence series includes extensive personal and professional correspondence with family, friends, artists, admirers (including students in a number of elementary and middle schools), university students, government agencies, art schools, galleries, museums, publishing houses, and others. Included in this series are condolence letters received by Gwendolyn Knight after Jacob Lawrence's death in 2000.

Writings include published and unpublished writings by and about Jacob Lawrence, as well as writings by others. These writings include speeches, notes, essays, articles, lists, and short stories. Also included is a visitor comment book from the Los Angeles County Museum exhibition of Jacob Lawrence's Harriet Tubman and Frederick Douglass series.

Printed material includes books; brochures; business cards; clippings; exhibition and event announcements, invitations, catalogs, and programs; magazines; newsletters; posters; post cards; and press releases. Books in this collection may include illustrations by Jacob Lawrence or have personal inscriptions from the author to Jacob Lawrence and Gwendolyn Knight.

Photographs include photographs of Jacob Lawrence artwork, photographs and reproductions of Gwendolyn Knight artwork, and photographs of Jacob Lawrence, Gwendolyn Knight, and other individuals. Also included in this series are photographs and reproductions of work by others.

Personal business records include a ledger; consignment, financial, and shipping records related to the Terry Dintenfass Gallery; contracts and agreements; and estate documents.

Artwork includes sketches by Jacob Lawrence, a blank sketchbook inscribed by Jacob Lawrence to Gwendolyn Knight, and artwork by other artists.

Jacob Lawrence Catalogue Raisonné Project Records include materials generated by the Jacob Lawrence Catalogue Raisonné Project, a non-profit created with the goal of producing a catalogue raisonné (and later, a digital archive) of Jacob Lawrence's work. These records include address books and phone logs; copies of Jacob Lawrence's CV; founding documents, bylaws, and meeting minutes; correspondence; writings, including draft pages of the catalogue raisonné; business records, including employment files, contracts, invoices, insurance, and tax information; printed and digital material; and photographs and artwork.

The Jacob and Gwendolyn Knight Lawrence Foundation and Related Material series includes founding documents and foundation bylaws, correspondence, financial documents, reports, and proposals. Found within this series are materials related to the Lawrence Center for the Visual Arts, a subsidiary foundation of the Jacob and Gwendolyn Knight Lawrence Foundation.

Professional files include material related to projects and exhibitions, teaching files and inclusion in curricula, files regarding possible fake Jacob Lawrence works, and gallery files.

The honors series is divided into two subseries: awards and certificates, and government honors. Awards and certificates includes honorary degrees, arts prizes, and any other honors awarded to Jacob Lawrence or Gwendolyn Knight. Government honors include resolutions, proclamations, and keys to cities. Also included in this series are correspondence related to awards and honorary degrees, commencement programs, plaques, and medals.
Arrangement:
The collection is arranged in 11 series.

Series 1: Biographical Material, 1914-2005 (Boxes 1, 11, 26, OV 10; 0.5 linear feet)

Series 2: Correspondence, 1943, 1952-2005 (Boxes 1-5, 12-14, 26; 7.7 linear feet)

Series 3: Writings, 1954-1959, 1973-2005, undated (Boxes 5-6, 14-15; 0.5 linear feet)

Series 4: Printed Material, 1816, 1926, 1937, 1945-2008 (Boxes 6-9, 15-17, 26, OV 30, OV 31; 6.8 linear feet)

Series 5: Photographs, circa 1970-1997, undated (Boxes 9, 17, OV 10; 0.4 linear feet)

Series 6: Personal Business Records, 1962-2005 (Boxes 9, 17; 0.3 linear feet)

Series 7: Artwork, 1984, 1990-1994, undated (Boxes 9, 18, 26; 0.3 linear feet)

Series 8: Jacob Lawrence Catalogue Raisonne Project Records, 1982-2002 (Boxes 18-23, Box 26; 5.1 linear feet, ER01; 0.001 GB)

Series 9: Jacob and Gwendolyn Knight Lawrence Foundation and Related Material, 1997-2005 (Box 23; 0.6 linear feet)

Series 10: Professional Files, 1964-2004 (Boxes 23-24; 1.2 linear feet)

Series 11: Honors, 1948, 1966-2005 (Boxes 24-25, 27-29, OV 30; 2.3 linear feet)
Biographical Note:
Modernist painter and educator Jacob Lawrence (1917-2000) was born in 1917 as Jacob Armstead Lawrence in Atlantic City, New Jersey. He began his art studies at the Utopia Children's Center in New York City's Harlem district where he studied under the painter Charles Alston. Lawrence dropped out of high school at the age of sixteen to continue his art instruction with Alston, this time at the Harlem Art Workshop, where he met several artists associated with the Harlem Renaissance including the sculptor Augusta Savage.

Gwendolyn Knight (1913-2005) was born in Barbados and moved to New York City with her adoptive parents when she was seven. She attended New York's Wadleigh High School and later Howard University in Washington, D.C. where she studied fine arts with Lois Mailou Jones and James Porter. Forced to leave her studies at Howard because of the Depression, Knight returned to Harlem and continued her artistic pursuits in Augusta Savage's workshop. In 1935, Knight joined the Harlem Mural Project of the Works Progress Administration (WPA) working under Selma Day and Charles Alston. Lawrence and Knight met in Savage's workshop and married in the summer of 1941.

During the Depression, Lawrence also joined the WPA Federal Arts Project in Harlem. Finding WPA murals overwhelming, Lawrence concentrated on traditional painting instead. He produced his first major works in the late 1930s, most notably the Toussaint L'Ouverture series, images that document the life of the revolutionary hero and Haiti's struggle for independence. Other significant works include visual narratives of the lives of abolitionists Harriet Tubman and Frederick Douglass. In 1940, Lawrence received the prestigious Julius Rosenwald Fellowship, which made it possible for him to purchase his first art studio on 125th Street in the heart of Harlem. He soon portrayed Harlem street life in paintings that became commentaries on the role of African Americans in United States society with highly developed themes of resistance and social opposition. That same year, Lawrence began his most celebrated series, The Migration of the American Negro, multiple tempera panels depicting the exodus of African American sharecroppers in the south to northern industrial cities in search of better employment and social opportunities. Edith Halpert exhibited the works in their entirety at her Downtown Gallery in 1941, establishing Lawrence as the first African American artist to exhibit in a top New York gallery. The following year, New York's Museum of Modern Art and the Phillips Collection in Washington, DC each bought half of the sixty panels in the series, helping to further Lawrence's career within the larger world of American art.

In the summer of 1946, the artist Joseph Albers invited Lawrence to teach at North Carolina's Black Mountain College. It was the first in a series of teaching positions in prestigious art schools including Pratt Institute (1956-1971), Brandeis University (1965), The New School (1966), the Art Students League (1967), and others. During the 1950s and 1960s, Lawrence's work continued to focus on racism and political activism but in the late 1960s shifted to themes of racial harmony.

Both Lawrence and Knight continued independent careers in art. Knight pursued her art studies at the New School in New York and the Skowhegan School of Painting and Sculpture in Maine. In the mid-1960s, she collaborated with other female artists to form the Studio Gallery in New York City. Knight's main body of work consists of portraits and still-lifes that incorporate expressions of African sculpture, Impressionism, dance, and theater. Focusing on gesture, her art is described as light and airy with a minimum of lines allowing empty space to define the work. In 1970, Lawrence traveled to Seattle to teach as a visiting artist at the University of Washington. He was hired on a permanent basis the following year and remained on staff until his retirement in 1986.

Jacob Lawrence died June 9, 2000, in Seattle, Washington at the age of 83. Gwendolyn Knight continued to paint and exhibit her work around the country until her death on February 18, 2005 in Seattle, Washington at the age of 92.
Related Material:
Also found at the Archives of American Art are an oral history interview with Jacob Lawrence conducted by Carroll Greene (1968 October 26), interviews conducted by Avis Berman (1982 July 20-August 4), and an oral history interview with Jacob Lawrence and Gwendolyn Knight conducted by Paul Karlstrom (1998 November 18). The Archives of American Art also holds a collection of Jacob Lawrence papers, available on microfilm only, reels D286 and 4571-4573. Originals reside at Syracuse University Library, Special Collections.
Provenance:
The Jacob Lawrence and Gwendolyn Knight papers were donated to the Archives of American Art in five accretions between 1979 and 1997. Additional papers were donated in 2012 by the Jacob and Gwendolyn Knight Lawrence Foundation via Barbara Earl Thomas, representative.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Jacob Lawrence and Gwendolyn Knight papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
African American artists -- Washington (State) -- Seattle  Search this
Painters -- New York (State)  Search this
Painters -- Washington (State)  Search this
Painting, Modern -- 20th century -- United States  Search this
African American artists -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Jacob Lawrence and Gwendolyn Knight papers, 1816, 1914-2008, bulk 1973-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lawrjaco
See more items in:
Jacob Lawrence and Gwendolyn Knight papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lawrjaco
Additional Online Media:

Irving Sandler interviews and papers

Creator:
Sandler, Irving, 1925-  Search this
Names:
Club (New York, N.Y.)  Search this
Extent:
2.8 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1944-2017
Summary:
The interviews and papers of art critic, art historian, and educator Irving Sandler measure 2.8 linear feet and date from 1944-2017. Included are interviews and recorded lectures; photographs of artwork and artists; membership files, meeting minutes, and ephemera from the Club organization; printed material from individual artist and group exhibits; and teaching files.
Scope and Contents:
The interviews and papers of Irving Sandler measure 2.8 linear feet and date from 1944-2017. Included are interviews and recorded lectures; photographs of artwork and artists; membership files, meeting minutes, and ephemera from the Club organization; printed material from individual artist and group exhibits; and teaching files.
Arrangement:
This collection is arranged as 4 series.

Series 1: Interviews, 1962-2017 (2.4 linear feet; Boxes 1-3)

Series 2: Photographs, 1955-1965 (2 folders; Box 4)

Series 3: Printed Material, 1944-1978 (7 folders; Box 4)

Series 4: Professional Activities, 1951-1969 (4 folders; Box 4)
Biographical / Historical:
Irving Sandler (1925-2018) was an art critic, art historian, and educator in New York, NY. Sandler was the art critic for Art News, 1956-1962; for the New York Post, 1960-1965; and an instructor of art history at New York University, 1960-1971. During his career, he was director of the Tanager Gallery and the Club organization.
Provenance:
The bulk of the collection was donated in 1981-1982 by Irving Sandler. Sandler donated an additional interview with Mira Lehr in 2008. Sandler's widow, Lucy Freeman Sandler, donated the 2017 interview of Charles Simonds in 2019.
Restrictions:
The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by 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 teachers -- New York (State)  Search this
Art historians -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Citation:
Irving Sandler interviews and papers, 1944-2017. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sandirvi
See more items in:
Irving Sandler interviews and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sandirvi

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
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 in this collection must use access copies. Contact References 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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Additional Online Media:

Sulzer, William (Governor of New York State)

Collection Creator:
Kuhn, Walt, 1877-1949  Search this
Container:
Box 1, Folder 58
Type:
Archival materials
Date:
1913
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 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:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
See more items in:
Walt Kuhn Family papers and Armory Show records
Walt Kuhn Family papers and Armory Show records / Series 1: Armory Show Records / 1.1: Correspondence / 1.1.4: Publicity
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-kuhnwalt-ref97

Frederick Stuart Church letters and art work

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Names:
Klots, Emma Louise  Search this
Mitchell, Laura  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
circa 1892-circa 1923
Summary:
The Frederick Stuart Church letters and art work date from circa 1892-circa 1923 and measure 0.5 linear feet. The collection includes illustrated letters, all but three of which are written to Emma Louise Klots, regarding Church's daily activities and his paintings, as well as artwork by Church including etchings and reproductions of Church's paintings, some of which are printed as photogravures.
Scope and Contents:
The Frederick Stuart Church letters and art work date from circa 1892-circa 1923 and measure 0.5 linear feet. The collection includes illustrated letters, all but three of which are written to Emma Louise Klots, regarding Church's daily activities and his paintings, as well as artwork by Church including etchings and reproductions of Church's paintings, some of which are printed as photogravures.
Arrangement:
The collection is arranged as two series:

Series 1: Letters, circa 1892-circa 1923 (Box 1; 0.2 linear feet)

Series 2: Artwork and Reproductions, circa 1892-circa 1923 (Box 2; 0.3 linear feet)
Biographical / Historical:
Frederick Stuart Church (1842-1924) was a painter, etcher, and illustrator in New York, New York, who specialized in animals. Born in Grand Rapids, Michigan, Church studied in New York City at the National Academy of Design and joined the Art Students League. By the 1870s he had a reputation as a gifted illustrator and worked for many magazines including various Harper's publications. He was most well known for his depictions of animals, and his paintings were purchased by leading art collectors of the day, including Charles Lang Freer, Henry Clay Frick, and Potter Palmer. Emma Louise Klots was a patron of Church.
Related Materials:
The Archives of American Art also holds the Frederick Stuart Church collection, circa 1885-1905, a small collection of letters from Church to various people.
Provenance:
The collection was donated to the Archives of American Art in 1990 by Thomas Rothwell, whose mother was Emma Louise Klots's niece.
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:
Illustrators -- New York (State) -- New York  Search this
Etchers -- New York (State) -- New York  Search this
Animal painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women art patrons  Search this
Genre/Form:
Drawings
Citation:
Frederick Stuart Church letters and art work, circa 1892-circa 1923. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.churfred
See more items in:
Frederick Stuart Church letters and art work
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-churfred

Frederick Stuart Church collection

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Names:
Cox, Kenyon, 1856-1919  Search this
Extent:
0.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
circa 1895-1905
Summary:
This small collection of items of New York painter Frederick Stuart Church, measures 0.1 linear feet and dates from circa 1895-1905. It includes letters, some illustrated, from Church to various people, a sketch, and a photograph of one of Church's paintings.
Scope and Contents:
This small collection of items of New York painter Frederick Stuart Church, measures 0.1 linear feet and dates from circa 1895-1905. It includes letters, some illustrated, from Church to various people, a sketch, and a photograph of one of Church's paintings.

Letters include three illustrated letters to Mike Gavin, in which Church describes himself as a bear and humorously addresses one letter to "Myrtle"; a letter to Mr. Hogan regarding an etching that Church made for him; an illustrated letter to W. F. Price; a letter to Mr. Putnam regarding Kenyon Cox; a letter to Mr. Van Allen regarding a work of art by Church that he suggested calling "Easter Morning"; a letter to an unidentified recipient regarding a female model; an illustrated note to an unknown recipient in which Church writes "This is a photo of a painting I gave to the Fund for relief of discharged employees of the Stock Exchange" with a photograph enclosed of the painting Mothers Return; and a signed sketch of a tiger by Church.
Arrangement:
The collection is arranged as one series.
Biographical / Historical:
Frederick Stuart Church (1842-1924) was a painter, etcher, and illustrator in New York, New York, who specialized in animals.

Born in Grand Rapids, Michigan, Church studied in New York City at the National Academy of Design and joined the Art Students League. By the 1870s he had a reputation as a gifted illustrator and worked for many magazines including various Harper's publications. He was most well-known for his depictions of animals, and his paintings were purchased by leading art collectors of the day, including Charles Lang Freer, Henry Clay Frick, and Potter Palmer.
Related Materials:
The Archives of American Art also holds the Frederick Stuart Church letters and art work, circa 1892-circa 1923.
Provenance:
The collection is a combination of six gifts to the Archives of American Art: a letter was donated by Nina and Victor Spark; letters were donated 1955-1962 by Charles E. Feinberg; a note and a photo were donated in 1966 by Cummer Gallery of Art, Jacksonville, Florida, having received it from "a lady in Jacksonville"; the letter to Mr. Van Allen was donated in 1960 by the Flint Art Museum; and the letters to Michael Gavin were donated in 2012 by Ann Gavin Ffolliott, Michael Gavin's great-niece. The donor of the tiger sketch is unknown.
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:
Illustrators -- New York (State) -- New York  Search this
Etchers -- New York (State) -- New York  Search this
Animal painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Citation:
Frederick Stuart Church papers, circa 1895-1905. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.churfsls
See more items in:
Frederick Stuart Church collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-churfsls

Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson

Creator:
White, Charles, 1918-1979  Search this
Williamson, Mel  Search this
Names:
White, Frances Barrett  Search this
Williamson, Lorraine, 1926-2018  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1956-1961
Summary:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson measure 0.2 linear feet and date from 1956 to 1961. The collection includes twenty-eight letters written by Charles and Frances White to Melvin (Mel) and Lorraine Williamson shortly after their arrival in California. Approximately half of the letters are written by Charles, the other half by Frances, and two letters are written jointly. Most are signed from "Chas & Fran." Also included in the collection are photographs that Charles and Frances sent the Williamsons of their home and Charles' studio, and printed material including clippings and exhibition brochures.
Scope and Contents:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson measure 0.2 linear feet and date from 1956 to 1961. The collection includes twenty-eight letters written by Charles and Frances White to Melvin (Mel) and Lorraine Williamson shortly after their arrival in California. The letters refer to financial and personal struggles, as well career triumphs and current events. In addition to their shared Chicago background, both the Whites and Williamsons were interracial couples. The letters include references to racial and social dynamics, especially comparing California to New York. Approximately half of the letters are written by Charles, the other half by Frances, and two letters are written jointly. Most are signed from "Chas & Fran."

The collection also contains photographs, negatives, and slides depicting Charles and Frances with friends, their home, and Charles' studio. Many photographs include explanatory notes. Also included are clippings and exhibition brochures for Charles White's 1958 exhibition at ACA Gallery, as well as Anton Refregier's Recent Paintings exhibition.
Arrangement:
This collection is arranged as one series.

Series 1: Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, 1956-1961 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter, printmaker, and educator, Charles W. White (1918-1979) was a prominent figure in the Chicago Black Renaissance and became one of the most celebrated and influential African American artists of the twentieth century. Born and raised in Chicago, Illinois, White lived and worked throughout the country, settling in California in 1956. He taught at the Otis Art Institute from 1965 until his death. White's artwork was primarily figurative and depicted African American history, socio-economic struggles, and human relationships.

Charles and Frances Barrett White (1926-2000) married in 1950. They relocated to Los Angeles in 1956. Frances Barrett White was a social worker and educator who spent her early years in New York City. In 1994, she published a book, Reaches of the Heart: A Biography of Charles White.

Melvin Williamson (1923-1995) was an artist, author, and the art director of Viking Press. He attended the Art Institute of Chicago before moving to New York.

Lorraine Rosen Williamson (1926-2018) was an educator and a docent at the Jewish Heritage Museum in New York City.
Related Materials:
The Archives of American Art also holds the Charles W. White papers, the Lucinda H. Gedeon research material on Charles White, and an oral history interview with Charles W. White conducted by Betty Hoag, March 9, 1965.
Provenance:
The Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson were donated to the Archives of American Art in 2019 by Lisa Rosenburg, Melvin and Lorraine Williamson's daughter.
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:
Painters -- California -- Los Angeles  Search this
Printmakers -- California -- Los Angeles  Search this
Educators  Search this
Art directors -- New York (State) -- New York  Search this
Topic:
African American artists  Search this
African American painters  Search this
Citation:
Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson, 1956-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.willimel
See more items in:
Charles W. and Frances White letters and photographs to Melvin and Lorraine Williamson
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-willimel

Rudi Blesh papers

Creator:
Blesh, Rudi, 1899-1985  Search this
Names:
Davis, Stuart, 1892-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Janis, Harriet Grossman  Search this
Motherwell, Robert  Search this
Schwitters, Kurt, 1887-1948  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1900-1983
Summary:
The papers of writer, critic, and architectural designer Rudi Blesh measure 2.1 linear feet and date from circa 1900 to 1983. The collection includes correspondence, documentation on writing projects and notes, printed materials, and photograpic materials. Much of the material concerns his collaboration with Harriet Janis on the book Collage: Personalities, Concepts, Techniques.
Scope and Contents:
The papers of writer, critic, and architectural designer Rudi Blesh measure 2.1 linear feet and date from circa 1900 to 1983. The collection includes correspondence, documentation on writing projects and notes, printed materials, and photograpic materials. Much of the material concerns his collaboration with Harriet Janis on the book Collage: Personalities, Concepts, Techniques. Of note is correspondence with Jean Dubuffet, Marcel Duchamp, Sonia Delaunay, and Aaron Siskind; notes on Robert Motherwell, Stuart Davis, Man Ray, Hans Richter, and others; and photographs of Willem de Kooning, Mark Rothko, Jasper Johns, Robert Rauschenberg, and Jackson Pollock.
Arrangement:
The collection is arranged as four series.

Series 1: Correspondence, 1909-1979 (0.2 linear feet; Box 1)

Series 2: Writing Projects and Notes, circa 1945-1967 (0.8 linear feet; Box 1)

Series 3: Printed Materials, 1939-1983 (0.3 linear feet; Box 2)

Series 4: Photographic Materials, circa 1900-circa 1969 (0.8 linear feet; Box 2, OV 3)
Biographical / Historical:
Rudi Blesh (1899-1985) was a writer, critic, and architectural designer in New York, N.Y.

Blesh was born in Guthrie, Oklahoma. He was known as a jazz critic but had a career as an interior designer before he began writing about jazz and art. Blesh attended Dartmouth College where he first encountered jazz music. He became a jazz critic for The San Francisco Chronicle and The New York Herald Tribune after relocating to New York in 1944.

Blesh partnered with Harriet "Hansi" Janis to co-author They All Played Ragtime and Collage: Personalities, Concepts, Techniques, a book about the development of collage and its use by artists such as Kurt Schwitters, Marcel Duchamp, Alberto Burri, Willem de Kooning, Robert Rauschenberg, and other notable artists.

Later in life, Blesh taught at New York University and Queens College while continuing to write about jazz. He died in 1985 in New Hampshire.
Provenance:
The papers were donated by Rudi Blesh in 1981 and in 1993 by longtime friend Ethel Baziotes, who received the papers from Blesh before his death.
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:
Art critics -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Collage  Search this
Abstract expressionism  Search this
Citation:
Rudi Blesh papers, circa 1900-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blesrudi
See more items in:
Rudi Blesh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blesrudi

Weyhe Gallery records

Creator:
Weyhe Gallery  Search this
Names:
Galerie Alfred Flechtheim  Search this
Weyhe Art Books, Inc  Search this
Kistler, Lynton R., , 1897-1993  Search this
Weyhe, Erhard, 1882-1972  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
15.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1921-2014
Summary:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Scope and Contents:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Arrangement:
The collection is arranged as six series.

Series 1: Administrative Files, circa 1930-circa 1990 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1921-2005 (3.0 linear feet; Boxes 1-4)

Series 3: Artist Files, 1930-2002 (0.8 linear feet; Boxes 4-5)

Series 4: Financial Records, 1926-2009 (9.2 linear feet; Boxes 5-14, 17)

Series 5: Printed Materials, 1930-2014 (0.8 linear feet; Box 14, OV 18)

Series 6: Scrapbooks, circa 2000 (1.0 linear feet; Boxes 14-16)
Biographical / Historical:
The Weyhe Gallery (est. 1919) was an art gallery and bookstore in New York, N.Y. It was one of the first New York galleries to specialize in prints.

The gallery was established by German-born dealer Erhard Weyhe (1883-1972). Before World War I, he worked as a print dealer, as well as a book dealer and publisher. He owned a shop in London but moved his business to New York once the war began. He first opened the Weyhe Gallery on 710 Lexington Ave. in 1919. From 1923 to 2003, the gallery was located at 794 Lexington Ave. The gallery focused on artists from Western Europe but also sold the works of Antonio Frasconi, Wanda Gág, Rockwell Kent, Rudy Pozatti, and Diego Rivera among others.

Carl Zigrossser was the gallery's first director from 1919 to 1940. When Zigrosser departed after accepting a position at the Philadelphia Museum of Art, Weyhe took over as director. After Weyhe's death in 1972, his daughter, Gertrude Dennis, operated the gallery and bookstore until her death in 2003. Weyhe's granddaughter, Deborah Kiley, currently runs the gallery as Weyhe Art Books in Mt. Desert, Maine.
Provenance:
The records were donated in 1996, 2012, and 2016 by the Weyhe Gallery via owners Gertrude Weyhe Dennis and Deborah Weyhe Kiley.
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
Topic:
Prints  Search this
Printmakers  Search this
Collectors and collecting  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Genre/Form:
Scrapbooks
Citation:
Weyhe Gallery records, 1921-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.weyhgall
See more items in:
Weyhe Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-weyhgall

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