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Correspondence, Barnard, George Grey

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
1925
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gelljohn-ref13

Correspondence, Church, Frederick S.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 2
Type:
Archival materials
Date:
1887-1919
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
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Correspondence, Church, Frederick S.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 3
Type:
Archival materials
Date:
1920 January-July
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
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Correspondence, Church, Frederick S.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 5
Type:
Archival materials
Date:
1923
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gelljohn-ref16

Correspondence, Ryder, Albert Pinkham

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1897-1910
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
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Correspondence, Wiles, Irving R.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
1929-1931
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gelljohn-ref23

Correspondence, Wood, C.E.S.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 13
Type:
Archival materials
Date:
1919
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
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Correspondence, Miscellaneous

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 14
Type:
Archival materials
Date:
circa 1885-1930
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
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Correspondence, Church, Frederick S.

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 4
Type:
Archival materials
Date:
1920 August-December
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
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Correspondence, Thayer, Abbott and Emma

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 7
Type:
Archival materials
Date:
circa 1903-1923
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
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Correspondence, Thayer, Abbott and Emma

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 8
Type:
Archival materials
Date:
1903
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gelljohn-ref19

Correspondence, Thayer, Abbott and Emma

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 9
Type:
Archival materials
Date:
1905
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
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Correspondence, Thayer, Abbott and Emma

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
1907-1908
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
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Correspondence, Thayer, Abbott and Emma

Collection Creator:
Gellatly, John, 1853-1931  Search this
Container:
Box 1, Folder 11
Type:
Archival materials
Date:
1912-1923
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
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John Gellatly letters received from artists

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

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

John Gellatly Letters Received from Artists

Collection Creator:
Gellatly, John, 1853-1931  Search this
Extent:
0.2 Linear Feet (Box 1)
Type:
Archival materials
Date:
1887-1931
Scope and Contents:
The John Gellatly letters received from artists measure 0.2 linear feet and date from 1887 to 1931. Found within the collection are 120 letters to Gellatly from Emma and Abbott H. Thayer, Frederick S. Church, Irving Wiles, Albert Pinkham Ryder, C. E. S. Wood, and George Grey Barnard. Some of the letters contain sketches, particularly those from Church. Topics range from the price and progress of artworks and requests for commissions to mutual friendships and daily events. There are also two copies of the poem "The Flying Dutchman" by Albert P. Ryder.
Arrangement:
Correspondence is arranged alphabetically by surname of the artist.
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 John Gellatly letters received from artists are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
John Gellatly letters received from artists, 1887-1931. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gelljohn, Series 1
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John Gellatly letters received from artists
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-gelljohn-ref12

Abbott Handerson Thayer and Thayer Family papers

Creator:
Thayer, Abbott Handerson, 1849-1921  Search this
Names:
Clemens, Samuel Langhorne, 1835-1910  Search this
Colman, Samuel, 1832-1920  Search this
Cortissoz, Royal, 1869-1948  Search this
Dow, Thomas Millie  Search this
Emerson, Edward Waldo, 1844-1930  Search this
Emerson, Ralph Waldo, 1803-1882  Search this
Faulkner, Barry, 1881-1966  Search this
Foster, Ben, 1852-1926  Search this
Freer, Charles Lang, 1856-1919  Search this
French, Daniel Chester, 1850-1931  Search this
Fuertes, Louis Agassiz, 1874-1927  Search this
Gellatly, John, 1853-1931  Search this
Kent, Rockwell, 1882-1971  Search this
Meryman, Richard Sumner, 1881-1963  Search this
Plunket, Jean Reasoner  Search this
Reasoner, David  Search this
Roosevelt, Theodore, 1858-1919  Search this
Sainsbury, Everton  Search this
Taber, E. M.  Search this
Thayer, Emma B., 1850-1924  Search this
Thayer, Gerald Handerson, 1883-1939  Search this
Thayer, Gladys, 1886 or 7-1945  Search this
Thayer, Kate Bloede  Search this
Thayer, Mary  Search this
White, Stanford, 1853-1906  Search this
Extent:
5.12 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Scrapbooks
Date:
1851-1999
bulk 1881-1950
Summary:
The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration (camouflage) in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.
Scope and Content Note:
The papers of painter and naturalist, Abbott Handerson Thayer, and the Thayer family date from 1851 to 1999, with the bulk of the material dating from 1881 to 1950, and measure 5.12 linear feet. Thayer's painting career, interest in concealing coloration in nature, and relationships with artists, patrons, family, and friends are documented through correspondence, writings, scattered legal and financial records, printed materials, and a scrapbook. Photographs are of Thayer, his family, studio, and friends, including artists. The collection also contains family papers created by his second wife, Emma Beach Thayer, his son Gerald, his daughters Mary and Gladys, and Gladys' husband David Reasoner, who managed Thayer's estate after his death.

Scattered Biographical Material includes a brief autobiographical statement and chronology by Abbott Thayer, lists of artworks by Abbott Thayer and Gladys Thayer Reasoner, and biographical information about Thayer's granddaughter, Jean Reasoner Plunket. Two linear feet of family correspondence includes Abott Thayer's correspondence with patrons Charles L. Freer and John Gellatly; with many artists, several of whom were close friends, including Samuel Colman, Thomas Millie Dow, Daniel Chester French, Richard Meryman, Everton Sainsbury, Louis Agassiz Fuertes, and E. M. Taber; and former students, such as Ben Foster and Barry Faulkner; and with other friends, many of them prominent members of society, such as Samuel Clemens, Royal Cortissoz, Edward Waldo Emerson, and Stanford White. Also found is Thayer's correspondence with scientists and naturalists discussing his theories on protective coloration in nature. Correspondence of his second wife Emma Beach Thayer, his first wife, Kate Bloede Thayer, his daughter, Gladys Thayer Reasoner, her husband and executor of Thayer's estate, David Reasoner, and other family members are also included in the papers.

Writings and notes by Thayer record his thoughts on concealing coloration, nature, restoration of artwork, and other topics. Writings by others include those by Emma Beach Thayer, daughters Mary and Gladys, and Thayer scholars. The collection also contains correspondence of David Reasoner and other family members, as well as financial and legal documents regarding the estate of Abbott Handerson Thayer and Emma Beach Thayer. Additional financial and legal material includes ledgers, accounts statements, bills, a patent granted to Thayer and Gerome Brush, legal agreements, property deeds, and a map of Thayer's property.

Printed material include books, including one written by Theodore Roosevelt in response to Thayer's book on concealing coloration. Also found are newspaper and magazine clippings, and exhibition announcements and catalogs. Photographs are of Abbott Thayer, his wife Emma; his studio and home in Dublin, New Hampshire; friends, including Rockwell Kent and Ralph Waldo Emerson; and of unidentified people. Artwork includes a few drawings by Thayer, drawings and paintings by his children, and sketchbooks belonging to David Reasoner and Jean Reasoner Plunket. The collection also includes one large scrapbook kept by David Reasoner documenting Abbott Thayer's artwork.
Arrangement:
The collection is arranged into 10 series. Glass plate negative is housed separately and closed to researchers.

Series 1: Biographical Material, 1878 - circa 1966 (Box 1; 7 folders)

Series 2: Correspondence, 1867-1987 (Box 1-3; 2.0 linear feet)

Series 3: Writings, 1888-1945 (Box 3; 0.8 linear feet)

Series 4: Estate Papers, 1921-1954 (Box 3-4; 0.5 linear feet)

Series 5: Other Financial Records, 1889-1957 (Box 4; 7 folders)

Series 6: Legal Records, 1891-1927 (Box 4; 4 folders)

Series 7: Printed Material, 1851, 1896-1999 (Box 4-5; 0.4 linear feet)

Series 8: Photographs, circa 1861-1933 (Box 5, MGP 2; 0.2 linear feet)

Series 9: Artwork, 1887 - circa 1940s (Box 5-6, 8; 8 folders)

Series 10: Scrapbook, circa 1910-1920 (Box 7; 0.3 linear feet)
Biographical Note:
Abbott Handerson Thayer (1849-1921) was born in Boston to Dr. William Henry Thayer and Ellen Handerson Thayer. After his birth his family moved to Woodstock, Vermont, and in 1855 settled in Keene, New Hampshire. As a child Thayer developed a love of nature that was encouraged by his close family, which included three sisters, Ellen, Margaret, and Susan. At the age of fifteen he was sent to the Chauncy Hall School in Boston, and while there he met Henry D. Morse, an amateur animal painter. Under Morse's instruction Abbott developed his skill in painting birds and other wildlife and began painting animal portraits on commission. In 1867 he moved to Brooklyn, New York and attended the Brooklyn Academy of Design where he studied under J. B. Whittaker for two years. In 1868 he began showing his work at the National Academy of Design and enrolled there in 1870, studying under Lemuel Wilmarth. He met many emerging artists during this period, including his future first wife, Kate Bloede and his close friend, Daniel Chester French. Thayer became part of progressive art circles, showing his work at the newly formed Society of American Artists, while continuing to develop his skill as an animal and landscape painter.

Thayer and Kate Bloede were married in 1875. They moved to Paris and he studied at the École des Beaux-Arts, first under Henri Lehmann, and then with Jean-Léon Gérome. While in Europe he befriended fellow artists Everton Sainsbury, Thomas Millie Dow, George de Forest Brush, and Dwight Tryon. His daughter Mary was born in 1876 and his son William Henry in 1878. The family returned to America in 1879 and settled in his parent's home in Brooklyn, where he changed his focus to portraits. After the tragic deaths of William Henry in 1880 and of their second son, Ralph Waldo, in 1881, the family led a migratory existence living in various parts of New England. In 1881 while living in Nantucket they met Emmeline (Emma) Beach (1850-1924) who would become close friends with Abbott and Kate and would be known as "Addie" to the family. In 1883 their son Gerald was born and in 1886 their daughter Gladys was born. In 1887 Thayer settled his family in Keene, New Hampshire, and began teaching a small group of students. Around this time his wife began suffering from severe depression and went to a sanatorium in 1888. She died in 1891 and that fall Thayer married Emma Beach who had helped to care for him and his children during his wife's illness.

Despite family tragedies, Thayer became a leader in the New York art world during the 1880s and 1890s. He was a successful portraitist and painted allegorical figures of angels, women, and children, which were popular among collectors of this period, including his patrons Charles Lang Freer and John Gellatly. He often used his children as models, especially his eldest daughter, Mary.

In the late 1880s one of Thayer's students, Mary Amory Greene, built a house and studio for the Thayer family on her land in Dublin, New Hampshire, and in 1901 the family settled there permanently. Many of Thayer's artist friends lived nearby, such as Richard Meryman and George de Forest Brush, and the Thayer family frequently entertained prominent visitors such as Edward Waldo Emerson and Samuel Clemens. Abbott Thayer taught painting to his children, and Gerald and Gladys both became artists and art educators. Gladys married David Reasoner, a student of Abbott Thayer who later became his assistant. Other students of Thayer included Rockwell Kent, Ben Foster, Barry Faulkner, and Louis Agassiz Fuertes.

Greatly influenced by transcendentalism and the spirituality of nature, Thayer again began to paint landscapes, especially of nearby Mount Monadnock. He was very interested in the study of protective coloration in the wild, and was an advocate for nature conservation and bird sanctuaries. He published the book Concealing Coloration in the Animal Kingdom in 1909 with his son Gerald, but encountered much resistance to his theories. Thayer also wrote about how his camouflage theories could be applied to military warships and uniforms. These theories failed to gain widespread government interest and after suffering from nervous exhaustion, he spent the rest of his life painting landscapes at his home in Dublin, until his death in 1921.
Related Material:
The Archives of American Art holds several collections related to Abbott Handerson Thayer. These include research material on Abbott Handerson Thayer and other artists, 1895-1990, donated by Thomas B. Brumbaugh; the Abbott Handerson Thayer letter and drawings to Caroline Peddle Ball, circa 1890-1893; "The Drawings of Abbott Thayer", by Elizabeth Robins Pennell, circa 1921; and the Nelson and Henry C. White research material, 1898-1978, which includes many letters, photographs, and other material originally belonging to the Thayer family.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reels 48 and 3417) including a diary kept by Thayer, a "Family Record" written by William Henry Thayer, correspondence, printed material, photographs, and original artwork by Abbott Handerson Thayer. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Anne Whiting, a niece of Abbott Handerson Thayer, loaned the Archives of American Art material for microfilming in 1971 and Jean Reasoner Plunket, Thayer's granddaughter, loaned original artwork for microfilming in 1985. The rest of the Abbott Handerson Thayer and Thayer Family papers were donated in 1999 by Abbott Thayer's great-grandson, John Plunket, who received the papers from his mother Jean Reasoner Plunket. In 2005 Bruce Gimelson donated additional material purchased from the relatives of Emma Beach Thayer.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Abbott Handerson Thayer and Thayer Family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Naturalists  Search this
Painters -- New Hampshire -- Dublin  Search this
Camouflage (Biology)  Search this
Art and camouflage  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Abbott Handerson Thayer and Thayer Family papers, 1851-1999 (bulk 1881-1950). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thayabbo
See more items in:
Abbott Handerson Thayer and Thayer Family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thayabbo
Additional Online Media:

Catalog of American and European paintings in the Gellatly collection

Author:
National Collection of Fine Arts (U.S.)  Search this
Tolman, Ruel P (Ruel Pardee) 1878-1954  Search this
Subject:
Gellatly, John 1853-1931 Art collections  Search this
National Collection of Fine Arts (U.S.)  Search this
Physical description:
20 p. front. (port.) plates. 21 cm
Type:
Catalogs
Place:
Washington (D.C.)
Date:
1940
1940]
Topic:
Painting  Search this
Call number:
N857 .A5 1940X
N857.A5 1940X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_362503

Frank K. M. Rehn Galleries records

Creator:
Frank K. M. Rehn Galleries  Search this
Names:
Bartlett, Frederic Clay, 1873-1953  Search this
Bellows, George, 1882-1925  Search this
Brook, Alexander, 1898-1980  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Chappell, Warren, 1904-  Search this
Clancy, John C., 1897-1981  Search this
Coleman, Glenn O., 1887-1932  Search this
Cook, Howard Norton, 1901-1980  Search this
Cuthbert, Virginia, 1908-2001  Search this
Dasburg, Andrew, 1887-1979  Search this
Gellatly, John, 1853-1931  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Hopper, Edward, 1882-1967  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
James, Alexander, 1890-1946  Search this
Kroll, Leon, 1884-1974  Search this
Luks, George Benjamin, 1867-1933  Search this
Mangravite, Peppino, 1896-  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Reginald, 1898-1954  Search this
McFee, Henry Lee, 1886-1953  Search this
Melchers, Gari, 1860-1932  Search this
Orton, J. Robert  Search this
Pepper, Charles Hovey, 1864-1950  Search this
Phillips, Duncan, 1886-1966  Search this
Poor, Henry Varnum, 1887-1970  Search this
Russo, Alexander  Search this
Spalding, John T.  Search this
Sparhawk-Jones, Elizabeth, 1885-1968  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Spruance, Benton, 1904-1967  Search this
Strater, Henry, 1896-  Search this
Tucker, Allen, 1866-1939  Search this
Tucker, Richard Derby, 1903-  Search this
Winters, Denny Sonke, 1907-1985  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Date:
1858-1969
bulk 1919-1968
Summary:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.
Scope and Content Note:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.

Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.

Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.

Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.

Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.
Arrangement:
Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.

The collection is arranged into 6 series:

Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)

Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)

Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)

Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)

Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)

Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)
Historical Note:
Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.

Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.

Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.

The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.

In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, remaining there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.
Related Material:
John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.

Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Rehn Galleries. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Provenance:
The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Frank K. M. Rehn Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Gallery owners  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Works of art  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franrehg
See more items in:
Frank K. M. Rehn Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franrehg
Additional Online Media:

Frederick Stuart Church letter to John Gellatly

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Gellatly, John, 1853-1931  Search this
Type:
Correspondence
Date:
1920 July 13
Topic:
Illustrated letters  Search this
Record number:
(DSI-AAA)18349
See more items in:
John Gellatly letters received from artists, 1887-1931
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_18349

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