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Presentation of William Glackens Self Portrait, NPG

Creator:
Hofmeister, Richard K  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Glackens, Ira 1907-1990  Search this
Sadik, Marvin S  Search this
Smithsonian Institution Photographic Services Division  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Physical description:
120mm;
Type:
Black-and-white negatives
Date:
1973
February 16, 1973
Local number:
SIA Acc. 11-009 [73-1244]
Restrictions & Rights:
No restrictions. All requests for duplication and use must be submitted in writing and approved by the Smithsonian Institution Archives. Contact SIA Reference Staff for further information (email photos@si.edu)
Public Domain
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_394835

Presentation of William Glackens Self Portrait, NPG

Creator:
Hofmeister, Richard K  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Glackens, Ira 1907-1990  Search this
Sadik, Marvin S  Search this
Smithsonian Institution Photographic Services Division  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Physical description:
120mm;
Type:
Black-and-white negatives
Date:
1973
February 16, 1973
Local number:
SIA Acc. 11-009 [73-1245]
Restrictions & Rights:
No restrictions. All requests for duplication and use must be submitted in writing and approved by the Smithsonian Institution Archives. Contact SIA Reference Staff for further information (email photos@si.edu)
Public Domain
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_394836

Owen Gallery records

Creator:
Owen Gallery  Search this
Names:
Benton, Thomas Hart, 1889-1975  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Glackens, William J., 1870-1938  Search this
Henri, Robert, 1865-1929  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Owen, Michael  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, John, 1871-1951  Search this
Yost, James  Search this
Extent:
9.4 Linear feet
0.093 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Date:
1929-2010
bulk 1980-2010
Summary:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibition files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Scope and Contents:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Artists represented include Thomas Hart Benton, Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, John Sloan, and others. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibitions files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Arrangement:
The collection is arranged as four series

Series 1: Exhibition Files, 1989-2010 (2.1 linear feet; Box 1-3, 0.001 GB; ER01)

Series 2: Inventory and Sales Records, 1929-2010, bulk 1980-2010 (5.7 linear feet; Box 3-8, 0.092 GB; ER02-ER04)

Series 3: Printed Material, 1994-2008 (0.4 linear feet; Box 8-9)

Series 4: Records Regarding Yasuo Kuniyoshi, circa 1955-2000 (1.2 linear feet; Box 9-10)
Biographical / Historical:
Owen Gallery, a New York gallery specializing in late nineteenth and early twentieth century American art, operated from 1986 to 2009 and was owned and directed by Michael Owen and James Yost. The gallery represented many artists associated with The Eight, Ashcan, and American modernism. Although exhibitions and the retail gallery have closed, the business remains in operation.
Provenance:
The Owen Gallery records were donated to the Archives of American Art in 2015 and 2016 by Michael Owen and James Yost.
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 Owen Gallery 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:
Art, American -- 19th century  Search this
Art, American -- 20th century  Search this
Art, Modern -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Ashcan school of art  Search this
Eight (Group of American artists)  Search this
Citation:
Owen Gallery records, 1929-2010, bulk 1980-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.owengall
See more items in:
Owen Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-owengall
Additional Online Media:

Lillian E. Travis papers relating to William Glackens and Charles Prendergast

Creator:
Travis, Lillian E., 1886-1961  Search this
Names:
Glackens, Ira, 1907-1990  Search this
Glackens, William J., 1870-1938  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Travis, Marion  Search this
Extent:
0.2 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1917-1984
Summary:
The Lillian E. Travis papers relating to William Glackens and Charles Prendergast measure 0.2 linear feet and date from 1917-1984. The majority of the collection consists of photographs of William Glackens, his family, and friends, Charles and Maurice Prendergast. The papers also include Ira Glackens's letters to Marion Travis and printed material.
Scope and Contents:
The Lillian E. Travis papers relating to William Glackens and Charles Prendergast measure 0.2 linear feet and date from 1917-1984. The majority of the collection consists of photographs of William Glackens, his family, and friends, Charles and Maurice Prendergast. The papers also include Ira Glackens's letters to Marion Travis and printed material.
Arrangement:
The collection is arranged as 3 series.

Series 1: Ira Glackens Letters to Marion Travis, 1961-1984 (Box 1; 2 folders)

Series 2: Printed Material, 1923-1945, 1967-1984 (Box 1; 3 folders)

Series 3: Photographs, 1917-circa 1930 (Box 1; 1 folder)
Biographical / Historical:
Lillian E. Travis (1886-1961) lived in New York. Prior to 1900, she married John C. Travis and had two daughters, Marion (1900-1985) and Viola (1905-1982). She divorced in 1907 and moved to New York. Travis enrolled at the Art Students League, where she became acquainted with Edith Dimock Glackens. Lillian and her daughters formed close ties to the Glackens family and their circle of friends, which included Maurice Prendergast, Charles Prendergast and his wife, Eugenie. Struck by Lillian's rich golden hair, William Glackens had her serve as his model for his painting, The Shoppers. Marion Travis and Viola Travis Crawford were also close friends of William Glackens's son, Ira and his wife, Nancy. Lillian E. Travis died in New York in 1961.

American realist painter, William Glackens (1870-1938) lived and worked in New York City and Westport, Connecticut. He studied at the Pennsylvania Academy of the Fine Arts under Robert Henri. Glackens began his career as a commercial illustrator for newspapers and periodicals. He later turned to painting and was part of "The Eight," a group of artists dedicated to portraying realistic scenes of daily urban life.

Painter, sculptor, and artisan frame-maker, Charles Prendergast (1863-1948) lived and worked with his brother, Maurice (1858-1924) in Boston, Massachusetts before moving to New York City in 1914. Charles achieved prominence as a craftsman and framemaker, and later specialized in painted, gilded, and incised panels of exotic and folk subjects.
Provenance:
The collection was donated to the Archives of American Art by Lillian E. Travis's granddaughter, Sarah Crawford Fox, in 2012.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Lillian E. Travis papers relating to William Glackens and Charles Prendergast 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:
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Lillian E. Travis papers relating to William Glackens and Charles Prendergast, 1917-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.travlill
See more items in:
Lillian E. Travis papers relating to William Glackens and Charles Prendergast
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-travlill

Ernest Blumenschein papers

Creator:
Blumenschein, Ernest Leonard, 1874-1960  Search this
Names:
Committee on Public Information  Search this
National Academy of Design  Search this
National Academy of Design (U.S.)  Search this
Salmagundi Club  Search this
Taos Society of Artists  Search this
Blumenschein, Helen G. (Helen Greene)  Search this
Blumenschein, Mary Greene  Search this
Gilbert, Cass, 1859-1934  Search this
Glackens, William J., 1870-1938  Search this
Kuhn, Walt, 1877-1949  Search this
Meem, John Gaw, 1894-1983  Search this
Sharp, Joseph Henry, 1859-1953  Search this
Tarkington, Booth, 1869-1946  Search this
Ufer, Walter, 1876-1936  Search this
Extent:
2.1 Linear Feet
Type:
Archival materials
Collection descriptions
Writings
Photographs
Date:
1873-1964
Summary:
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.
Scope and Content Note:
The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.

Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.

Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.

Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.

Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.

Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.

Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.
Arrangement:
The collection is arranged into 7 series:

Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)

Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)

Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)

Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)

Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)

Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)

Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)
Biographical Note:
Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.

In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.

Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.

While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.

Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.
Related Material:
Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.

Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.
Provenance:
The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.
Restrictions:
Use of the original papers requires an appointment.
Rights:
The Ernest Blumenschein 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:
World War I, 1914-1918  Search this
Painters -- New Mexico -- Taos  Search this
Illustrators -- New Mexico -- Taos  Search this
Taos School of Art  Search this
Works of art  Search this
Painting -- New Mexico -- Taos  Search this
Genre/Form:
Writings
Photographs
Citation:
Ernest Blumenschein papers, 1873-1964. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blumerne
See more items in:
Ernest Blumenschein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blumerne
Additional Online Media:

Leon Kroll papers

Creator:
Kroll, Leon, 1884-1974  Search this
Names:
Beal, Gifford, 1879-1956  Search this
Biddle, George, 1885-1973  Search this
Bishop, Isabel, 1902-1988  Search this
Bruce, Edward, 1879-1943  Search this
Faulkner, Barry, 1881-1966  Search this
Glackens, William J., 1870-1938  Search this
Henri, Robert, 1865-1929  Search this
Langsam, Julie  Search this
Manship, Paul, 1885-1966  Search this
Nichols, Hobart, 1869-1962  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Sterne, Maurice, 1878-1957  Search this
Williams, Esther, 1907-1969  Search this
Extent:
7.9 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Writings
Photographs
Sketches
Date:
1905-1974
Summary:
The papers of realist painter, muralist, and art instructor Leon Kroll date from 1905 to 1974 and measure 7.9 linear feet. The collection documents Kroll's painting career, teaching, and active participation in numerous art organizations. Over one-half of the collection is correspondence with artists, schools, galleries, museums, patrons, arts organizations, and others. Also found are scattered biographical material, writings and notes, legal and financial records, exhibition catalogs, clippings, other printed material, photographs of Kroll and colleagues, loose drawings and nine sketchbooks.
Scope and Content Note:
The papers of realist painter, muralist, and art instructor Leon Kroll date from 1905 to 1974 and measure 7.9 linear feet. The collection documents Kroll's painting career, teaching, and active participation in numerous art organizations. Over one-half of the collection is correspondence with artists, schools, galleries, museums, patrons, arts organizations, and others. Also found are scattered biographical material, writings and notes, legal and financial records, exhibition catalogs, clippings, other printed material, photographs of Kroll and colleagues, loose drawings, and nine sketchbooks.

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

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

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

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

Series 1: Biographical Material, 1906-1969 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1905-1973 (Box 1-4; 3.6 linear feet)

Series 3: Writings and Notes, 1932-1972 (Box 4-5; 0.5 linear feet)

Series 4: Legal and Financial Records, 1921-1974 (Box 5; 0.6 linear feet)

Series 5: Printed Material, 1924-1972 (Box 5-6; 0.4 linear feet)

Series 6: Photographs, circa 1900s-1960s (Box 6; 0.4 linear feet)

Series 7: Artwork, 1911-circa 1950s (Box 6; 0.3 linear feet)
Biographical Note:
Leon Kroll (1884-1974) of New York, N.Y., was a painter.

Leon Kroll was born in New York City in 1884. As a teenager he attended classes at the Art Students League and studied painting with John Henry Twachtman. In the early 1900s he began taking classes at the National Academy of Design, where he won student prizes, and had his first major exhibition in 1906. In 1908 he won a scholarship to study art in Paris and attended the Académie Julian, studying at the atelier of Jean-Paul Laurens. Through he practiced realism, Kroll was also influenced by French impressionist painters, specifically Paul Cézanne. While in Paris he also met Genevieve (Viette) Domec. They married later in 1923 and had one daughter, Marie-Claude.

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

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

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

Kroll maintained a studio in New York City and spent summers at his home and studio at Folly Cove, Gloucester, Massachusetts. Leon Kroll died in 1974 at the age of 89.
Provenance:
Leon Kroll donated a portion of his papers in 1968. His widow, Genevieve Kroll, donated the rest of the papers in 1976.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Leon Kroll papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art patronage  Search this
Art -- Economic aspects  Search this
Art teachers -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painting, American  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art and state  Search this
Artists' models  Search this
Genre/Form:
Sketchbooks
Writings
Photographs
Sketches
Citation:
Leon Kroll papers, 1905-1974. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.krolleon
See more items in:
Leon Kroll papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-krolleon
Additional Online Media:

Mary Fanton Roberts papers

Creator:
Roberts, Mary Fanton, 1871-1956  Search this
Names:
Barnard, George Grey, 1863-1938  Search this
Borglum, Gutzon, 1867-1941  Search this
Carman, Bliss, 1861-1929  Search this
Coburn, Charles Douville  Search this
Enters, Angna, 1907-  Search this
Fanton, Belle  Search this
Glackens, William J., 1870-1938  Search this
Guilbert, Yvette, 1865-1944  Search this
Haggin, Ben Ali, 1882-1951  Search this
Henri, Robert, 1865-1929  Search this
Herford, Oliver, 1863-1935  Search this
Kroll, Leon, 1884-1974  Search this
Le Gallienne, Eva, 1899-  Search this
Muray, Nickolas, 1892-1965  Search this
Osbourne, Lloyd, 1868-1947  Search this
Remington, Frederic, 1861-1909  Search this
Rerikh, Nikolai Konstantinovich, 1874-1947  Search this
Roberts, Dorothy, 1906-  Search this
Roberts, Goodridge, 1904-  Search this
Roberts, William C.  Search this
Seton, Ernest Thompson, 1860-1946  Search this
Sloan, John, 1871-1951  Search this
Troubetzkoy, Pierre, 1864-1936  Search this
Yeats, John Butler, 1839-1922  Search this
Extent:
3.8 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1880-1956
Summary:
The papers of art writer and editor Mary Fanton Roberts measure 3.8 linear feet and are dated 1880 to 1956. The bulk of this collection is Roberts' correspondence with numerous important artists, dancers, actors, writers, and musicians of the day. Also found are scattered biographical materials, family correspondence, writings, printed material, photographs and artwork.
Scope and Content Note:
The papers of art writer and editor Mary Fanton Roberts measure 3.8 linear feet and are dated 1880 to 1956. The collection is comprised mainly of correspondence with family members, artists, dancers, actors, writers, musicians, and visual and performing arts organizations. Also found are scattered biographical materials, writings, printed material, photographs and artwork.

The collection contains a small amount of biographical material about Mary Fanton Roberts and her husband, William Carman Roberts, including his journal of a vacation with Ernest Thompson Seton and his wife. Personal Correspondence is with her husband and sister Belle Fanton, and with friends. Business and political correspondence documents her career as a magazine editor and writer, her participation in political organizations and events, her participation in radio talks, and her correspondence regarding war issues.

Art correspondence/subject files include correspondence with and collected materials on artists, photographers, art patrons, critics, and wives of artists, as well as arts organizations, museums, and schools. Correspondence of note is with George Gray Barnard, Gutzon Borglum, Ben Ali Haggin, Leon Kroll, Frederic Remington, W. Goodridge Roberts, Nicholas Roerich, Pierre Troubetzkoy, illustrator Oliver Herford, John Butler Yeats, and Ashcan school artists Robert Henri, John Sloan, and William Glackens, as well as many others. Dance and theatre correspondence/subject files include correspondence with actors, dancers, playwrights, patrons, organizations and theatres. Correspondence of note in this series is with Charles "Orlando" Coburn, Eva Le Gallienne, Angna Enters, and the "Duncan Dancers." Literary and music orrespondence/subject files include correspondence with authors, poets, critics, singers, publishers, and musicians, such as Bliss Carman, Yvette Guilbert, and Lloyd Osbourne. Additional material found in these subject files, other than letters, includes invitations, photographs, calling cards, artwork, news clippings, and printed material.

Writings by Roberts include an autobiographical essay about her youth and early career, guest lists and notes concerning hosted events, and typescripts of poems by her niece Dorothy Gostwick Roberts. Printed material is comprised of art exhibition catalogs, published articles and trade bulletins written by Roberts, and newsclippings. Photographs are of Roberts, her family, friends, and places she lived, and include autographed portraits given to her, primarily from actors and actresses. Also found are photographs taken by Nickolas Muray of art models. Scattered artwork in this collection includes several small drawings by unidentified artists, as well as a pencil portrait of Roberts by John Butler Yeats.
Arrangement:
The collection is arranged into 11 series:

Series 1: Biographical Material, 1906, 1912-1941, undated (Box 1; 2 folders)

Series 2: Personal Correspondence, 1902-1951, undated (Box 1; 7 folders)

Series 3: Business and Political Correspondence, 1903-1959, undated (Box 1; 6 folders)

Series 4: Art Correspondence/Subject Files, 1898-1956, undated (Box 1-2; 0.8 linear feet)

Series 5: Dance and Theatre Correspondence/Subject Files, 1902-1953, undated (Box 2-3; 0.8 linear feet)

Series 6: Literary and Music Correspondence/Subject Files, 1900-1952, undated (Box 3; 0.6 linear feet)

Series 7: General Correspondence, 1898-1946, undated (Box 3-4; 0.4 linear feet)

Series 8: Writings, 1915-1926, 1952, undated (Box 4; 3 folders)

Series 9: Printed Material, 1899, 1909-1947, undated (Box 4-5; 0.3 linear feet)

Series 10: Photographs, 1880-circa 1943, undated (Box 5; 0.2 linear feet)

Series 11: Artwork, 1906, undated (Box 5; 3 folders)
Biographical Note:
Mary Fanton Roberts was born in Brooklyn, New York in 1864. When she was a young girl her family moved to Deadwood, in the Montana territory, where her father had mining prospects. When she was old enough, she and her sister were sent back to New York to attend the Albany Female Academy. After finishing school, Roberts pursued journalism and became a staff writer for four years for the Herald Tribune, the Journal, and the Sun in New York. During her long career she was editor of Demorest Magazine, editor-in-chief of New Idea Woman's Magazine, managing editor of The Craftsman, and creator and editor of The Touchstone Magazine and Decorative Arts magazine. Her longest period at one publication was seventeen years as editor of Arts and Decoration. She often wrote articles on the topic of decorative arts and home decorating, and published two books, Inside 100 Homes, and 101 Ideas for Successful Interiors.

In 1906 she married William Carman Roberts, writer and editor of Literary Digest for thirty years. They lived in Manhattan and Waterford, Connecticut.

Roberts was very involved in the artistic, theatrical, and literary circles in New York City, and met and became friends with many young avant garde American artists, including Robert Henri and John Sloan. Through her husband she met many writers and poets, including Theodore Dreiser and Bliss Carman. Roberts was active in organizations such as the Women's City Club, Pen and Brush, and the MacDowell Society and also attended countless art openings, theater performances, and other social events. As an avid supporter of modern dance, she became friends with many performers, including Isadora Duncan and Angna Enters. After her husband's death in 1941, Roberts moved to the Chelsea Hotel, where she lived for the rest of her life. She maintained lifelong relationships with a wide circle of friends and continued to correspond with them and attend social events until her death in 1956 at the age of 92.
Provenance:
The collection was donated in 1957 by Phoebe DuBois and Violet Organ.
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 Mary Fanton Roberts 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:
Authors -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Ashcan school of art  Search this
Works of art  Search this
Editors -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robemary
See more items in:
Mary Fanton Roberts papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robemary
Additional Online Media:

William Glackens : the formative years : [exhibition] May 8 - June 8, 1991

Author:
Glackens, William J. 1870-1938  Search this
Wattenmaker, Richard J  Search this
Kraushaar Galleries  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
1 v. (unpaged) : col. ill. ; 26 cm
Type:
Books
Exhibitions
Date:
1991
[1991?]
Call number:
N40.1.G54 K91 1991
N40.1.G54K91 1991
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_409850

William Glackens memorial exhibition, December 14, 1938, to January 15, 1939

Author:
Glackens, William J. 1870-1938  Search this
Whitney Museum of American Art  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
16 p., [14] leaves of plates : ill. ; 25 cm
Type:
Books
Date:
1938
[1938]
Call number:
ND237.G5 A4 1938
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_646375

William Glackens, the formative years : May 8-June 8, 1991

Author:
Glackens, William J. 1870-1938  Search this
Wattenmaker, Richard J  Search this
Pesner, Carole M  Search this
Kraushaar Galleries  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
[20] p. : col. ill. ; 26 cm
Type:
Books
Exhibitions
Date:
1991
[1991]
Call number:
ND237.G5 A4 1991
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_647608

Drawings by William Glackens, December 1-January 7, 1989

Title:
William Glackens
Author:
Glackens, William J. 1870-1938  Search this
Wattenmaker, Richard J  Search this
Kraushaar Galleries  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
[4] p. : ill. ; 23 cm
Type:
Books
Exhibitions
Date:
1989
Call number:
NC139.G5 A4 1989
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_668450

Ira and William Glackens papers

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Everett Shinn collection

Creator:
Shinn, Everett, 1876-1953  Search this
Names:
Washington Park Studio  Search this
Bigelow, Poultney, b. 1855  Search this
Calder, Alexander Stirling, 1870-1945  Search this
De Wolfe, Elsie, 1865-1950  Search this
Dreiser, Theodore, 1871-1945  Search this
Eddy, H. B.  Search this
Fitch, Clyde, 1865-1909  Search this
Gibson, Charles Dana, 1867-1944  Search this
Glackens, William J., 1870-1938  Search this
Haggin, Ben Ali, 1882-1951  Search this
Hegan, Colonel  Search this
Henfold, Oliver  Search this
Henri, Robert, 1865-1929  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Marlowe, Julia, 1865-1950  Search this
Nolan, Philip  Search this
Rains, Claude, 1889-1967  Search this
Sale, Chic  Search this
Scovel, Florence  Search this
Sloan, John, 1871-1951  Search this
Warrick, Ruth  Search this
Wollcott, Alexander  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Photographer:
Grove, William  Search this
Extent:
3.1 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Sketchbooks
Scrapbooks
Notes
Illustrated letters
Poems
Date:
1877-1958
Summary:
The collected papers of Everett Shinn measure 3.1 linear feet and date from 1877 to 1958. Found within the papers are biographical material; correspondence with friends and colleagues; personal business records; art work, including two sketchbooks of designs for Belasco's Stuyvesant Theatre; notes and writings; eight scrapbooks; printed material; and numerous photographs of Shinn, his colleagues, and his work.
Scope and Contents note:
The collected papers of Everett Shinn measure 3.1 linear feet and date from 1877 to 1958. Found within the papers are biographical material; correspondence with friends and colleagues; personal business records; art work, including two sketchbooks of designs for Belasco's Stuyvesant Theatre; notes and writings; eight scrapbooks; printed material; and numerous photographs of Shinn, his colleagues, and his work.

Biographical material includes miscellaneous biographical accounts and a membership certificate from the American Watercolor Society.

Correspondence consists of letters from Shinn's friends and colleagues, primarily from author Poultney Bigelow. There are also letters from decorator Elsie De Wolfe, dramatist Clyde Fitch, and artists Charles Dana Gibson, William Glackens, and George Luks, whose letters are illustrated. There are scattered letters from A. Stirling Calder, Theodore Dreiser, Robert Henri, Ernest Lawson, Julia Marlowe, Claude Rains, Ruth Warrick, Alexander Woollcott, and Mahonri Young.

Personal business records consist of two account books recording art work used in publications and loaned for exhibitions, and miscellaneous invoices.

Artwork consists of two sketchbooks of designs for the Stuyvesant Theatre murals and miscellaneous drawings by Shinn. Artwork by others, including H. B. Eddy, James Ben Ali Haggin, Colonel Hegan, Oliver Henfold, George Luks, and Philip Nolan, consist primarily of caricatures.

Notes and writings include a handwritten draft of Shinn's play Hazel Weston or More Sinned Against Than Usual, notes for a book on art, poems, and typescripts by Shinn including "Plush and Cut Glass," a book about George Luks.

Eight scrapbooks primarily contain clippings. Scrapbook 2 contains clippings, exhibition catalogs, a note from Stuart Benson, an illustrated postcard from Ed, and scattered photographs.

Additional printed material is primarily comprised of clippings, but there are also exhibition announcements and catalogs for Shinn, reproductions of art work, booklets, and miscellaneous printed material. Rare programs for plays written by Shinn list cast members, including Wilfred Buckland, Edith Glackens, William J. Glackens, James Ben Ali Haggin, Robert Henri, J. E. Laub, Thomas Newell Metcalf, James M. Preston, Florence Scovel Shinn, and John Sloan.

Numerous photographs are found within the collection and depict Shinn as a boy, in various Philadelphia newspaper offices, in costume for stage performances, at the easel, and with colleagues, including Robert Henri and John Sloan. Photographs of colleagues also include author Poultney Bigelow, decorator Elsie De Wolfe, portrait painter James Ben Ali Haggin, actress Julia Marlowe, and Pennsylvania Academy of the Fine Arts classmates William Glackens and Florence Scovel. There are also photographs of Shinn's residences, exhibition installations, set designs and stagings of plays, murals, and other art work.
Arrangement note:
The collection is arranged as 8 series:

Series 1: Biographical material, 1953 (Box 1; 2 folders)

Series 2: Correspondence, 1899-1952 (Box 1, 4; 61 folders)

Series 3: Personal business records, 1898-1928 (Box 1; 3 folders)

Series 4: Artwork, 1893-1928 (Box 1, 4, OV 6; 10 folders)

Series 5: Notes and writings, 1922-1951 (Box 1; 9 folders)

Series 6: Scrapbooks, 1898-1952 (Box 1, 2, 4, BV 5; 21 folders)

Series 7: Printed material, 1894-1958 (Box 2, 4; 21 folders)

Series 8: Photographs, 1877-1950 (Box 2-4, OV 7; 1.3 linear feet)
Biographical/Historical note:
Everett Shinn (1876-1953) was a painter, muralist, illustrator, and theatrical scene designer who worked primarily in New York City. Shinn was a member of "The Eight," a group of painters known for their realistic portrayal of American urban life.

Everett Shinn was born on November 6, 1876 in Woodstown, New Jersey, the son of Isaiah and Josephine Ransley Shinn. He attended Quaker schools until 1890 when he went to the Spring Garden Institute in Philadelphia, studying engineering and industrial design until 1893.

Shinn enrolled at the Pennsylvania Academy of the Fine Arts between 1893 and 1897. During this time he was hired as an artist-reporter for the Philadelphia Press, the Inquirer, and the Ledger. He also forged his friendships with painters George Luks, John Sloan, William J. Glackens, and Robert Henri, all future members of "The Eight."

Shinn moved to New York City in 1897 and quickly found employment as an illustrator for the newspaper The World. In 1898, he married Florence Scovel, the first of his four wives. In 1900, he traveled to England and France, and was later employed by Harper's Weekly. Shinn befriended decorator Elsie De Wolf and architect Stanford White, and designed and executed murals for the homes of their clients. Shinn created eighteen mural panels for David Belasco's Stuyvesant Theatre that opened in 1907, and murals for the Council Room of the Trenton, New Jersey City Hall in 1911. His most notable murals were created for the Oak Room of New York's Plaza Hotel in the 1940s.

In 1908, Shinn participated in the seminal group exhibition of "The Eight" at Macbeth Gallery. In 1911, he was included in the Exhibition of Independent Artists, and was invited to send works to the International Exhibition of Modern Art, better known as the Armory Show, in 1913, but for an unknown reason, declined. Shinn exhibited regularly and his works are in the collections of the Metropolitan Museum of Art, the Delaware Art Museum, the Art Institute of Chicago, and the Whitney Museum of American Art, among others.

Throughout his career Shinn was fascinated by the theater and the act of performance, which he made the subject of many of his works. He also wrote, directed, and performed in his own plays. Between 1917 and 1920, Shinn worked as an art director for Sam Goldwin at Goldwyn Pictures. He also worked for Inspiration Pictures from 1920 to 1923, and for William Randolph Hearst at Cosmopolitan Pictures in 1923. He divorced Florence Scovel in 1912, and married Corinne Baldwin in 1913, with whom he had two children, Janet and Davidson. He divorced again in 1921, married Gertrude Chase in 1924, and divorced again in 1932. In 1933, Shinn married his fourth wife, Paula Downing; they divorced in 1942.

From 1935 to 1939, he covered a murder trial for the Boston Traveler, exhibited his work at the Whitney Museum of American Art, and won a prize for watercolor at an exhibition at the Chicago Art Institute. In the 1940s Shinn participated in exhibitions at the Brooklyn Museum, Carnegie Institute in Pittsburgh, Philadelphia Museum of Art, and at the American-British Art Center. In 1949, Shinn was made an Academician of the National Academy of Design, and in 1951, he was inducted into the American Academy of Arts and Letters.

Everett Shinn died on May 1, 1953 in New York City.
Related Archival Materials note:
Additional Everett Shinn papers are available at the Helen Farr Sloan Library, Delaware Art Museum, Wilmington, Delaware.
Provenance:
The bulk of the Everett Shinn collection was acquired via purchase from art dealer Thurston Thatcher between 1958-1964. Art collector Howard Lipman donated additional material in 1962. Five negatives of Shinn's work were donated in 1969 by Dr. Milton Luria, an acquaintance of Shinn's son, Davidson. The photograph of Everett Shinn, John Sloan, and Robert Henri was donated on an unknown date by an unidentified donor. The handwritten draft of Shinn's play Hazel Weston or More Sinned Against Than Usual was acquired via auction purchase in 2011.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Everett Shinn collection is 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:
Painting, American  Search this
Illustrators -- New York (State) -- New York  Search this
Theaters -- Stage-setting and scenery  Search this
Painters -- New York (State) -- New York  Search this
Stage designers -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Sketchbooks
Scrapbooks
Notes
Illustrated letters
Poems
Citation:
Everett Shinn collection, 1877-1958. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.shinever
See more items in:
Everett Shinn collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-shinever
Additional Online Media:

On Brewster's Creek : views of Bay Shore, Long Island by William Glackens / by Geoffrey K. Fleming ; foreword by Dr. Barbara Buhler Lynes ; introduction by Dr. William H. Gerdts

Author:
Fleming, Geoffrey K.  Search this
Artist:
Glackens, William J. 1870-1938  Search this
Writer of foreword:
Lynes, Barbara Buhler 1942-  Search this
Writer of introduction:
Gerdts, William H.  Search this
Contributor:
NSU Art Museum Fort Lauderdale  Search this
Publisher:
Huntington Museum of Art (Huntington, W. Va.)  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Glackens, William J. 1870-1938 Homes and haunts  Search this
Physical description:
102 pages : color illustrations ; 21 x 23 cm
Type:
Catalogs
In art
Place:
New York (State)
Bay Shore
Bay Shore (N.Y.)
Date:
2017
20th century
Topic:
Art, American--Themes, motives  Search this
Call number:
N6537.G485 A4 2017
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1098917

William Glackens as illustrator : December 2-31, 2003

Author:
Glackens, William J. 1870-1938  Search this
Berman, Avis  Search this
Kraushaar Galleries  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
8 unnumbered pages : color illustrations ; 18 cm
Type:
Exhibitions
Exhibition catalogs
Date:
2003
[©2003]
20th century
Topic:
Illustrators  Search this
Painting, American  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1063041

William Glackens / text by William H. Gerdts ; essay by Jorge H. Santis

Author:
Gerdts, William H  Search this
Santis, Jorge H  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Glackens, William J. 1870-1938 Catalogs  Search this
Glackens, Ira 1907- Art collections Catalogs  Search this
Museum of Art (Fort Lauderdale, Fla.) Catalogs  Search this
Physical description:
279 p. : ill. (some col.) ; 32 cm
Type:
Biography
Place:
United States
Florida
Fort Lauderdale
Date:
1996
Topic:
Artists  Search this
Art--Catalogs  Search this
Call number:
N40.1.G54 G36 1996
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_493950

William Glackens : illustrator in New York, 1897-1919 / Nancy E. Allyn, guest curator

Author:
Allyn, Nancy E  Search this
Glackens, William J. 1870-1938  Search this
Delaware Art Museum  Search this
Pennsylvania State University Museum of Art  Search this
Hudson River Museum  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
40 p. : ill. ; 28 cm
Type:
Books
Exhibitions
Date:
1985
C1985
Call number:
N40.1.G54x A44i 1985
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_499350

At home abroad : William Glackens in France, 1925-1932 : [exhibition] November 6 to December 6, 1997

Title:
William Glackens in France, 1925-1932
Author:
Glackens, William J. 1870-1938  Search this
Kaplan, Katherine  Search this
Kraushaar Galleries  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
15 p. : col. ill. ; 22 cm
Type:
Books
Exhibitions
Date:
1997
C1997
Call number:
N40.1.G54 K91h 1997
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_525652

Henri's disciples : William Glackens & John Sloan : [exhibition] February 10-April 1995

Author:
Glackens, William J. 1870-1938  Search this
Santis, Jorge H  Search this
Fort Lauderdale Museum of the Arts  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Sloan, John 1871-1951  Search this
Physical description:
[8] p. : col. ill. ; 28 cm
Type:
Books
Exhibitions
Date:
1995
Call number:
ND237.G5 S2 1995
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_635251

William Glackens : a catalogue of book and magazine illustrations / Nancy E. Allyn and Elizabeth H. Hawkes

Author:
Allyn, Nancy E  Search this
Hawkes, Elizabeth H  Search this
Glackens, William J. 1870-1938  Search this
Delaware Art Museum  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
104 p. : ill. ; 28 cm
Type:
Catalogs
Place:
United States
Date:
1987
C1987
20th century
Topic:
Magazine illustration  Search this
Illustration of books  Search this
Call number:
N6537.G48.A4.1987
N40.1.G54xA44 1987
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_640052

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