The records of Jacques Seligmann & Co. 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.
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
National Portrait Gallery, Office of Exhibitions Search this
Boxes 1-29 restricted for 15 years, until Jan-01-2012; Box 29 contains materials restricted indefinitely; see finding aid; Transferring office; 5/2/1985 and 3/3/1999 memoranda; Contact reference staff for details.
Smithsonian Institution Archives, Accession 97-083, National Portrait Gallery, Office of Exhibitions, Exhibition Records
Copy print of a daguerreotype depicting Seth Eastman seated on an inscribed rock, Dighton Rock, in Massachusetts on July 7, 1853.
Seth Eastman (1808-1875) was an army officer who also made paintings, drawings, and sketches of American Indians and fortifications. While on detail with the Office of Indian Affairs, he was commissioned to prepare illustrations for Henry Rowe Schoolcraftsʹ book, "Historical and Statistical Information Respecting the History, Condition and Prospects of the Indian Tribes of the United States." In 1853 Eastman traveled to New England to explore ancient sites, during which he collaborated with Horatio King, a daguerreotypist with a studio in Taunton, Massachusetts.
Local Call Number(s):
NAA Photo Lot R81-11
Copy print possibly made by Christie's East in New York, NY, circa 1980.
Location of Other Archival Materials:
Originals and copies of Seth Eastman's artwork can be found in the National Anthropological Archives in MS 1671, Photo Lot 24, Photo Lot 78, and the BAE historical negatives.
Records relating to an exhibition of Seth Eastman's artwork can be found in the Smithsonian Institution Archives in SIA Acc. 97-004.
The collection is open for research.
Access to the collection requires an appointment.
This copy collection has been obtained for reference purposes only. Copies can be obtained from the Getty Museum, which holds the original daguerreotype.
Photo lot R81-11, Copy of Horatio B. King photograph of Seth Eastman on Dighton Rock, National Anthropological Archives, Smithsonian Institution
The Library of Congress Copyright Deposit Collection is comprised of 2,335 photomechanical reproductions of works by 741 artists (mostly American). The large-format prints, deposited with the Library of Congress for copyright between 1890 and 1945, represent a broad range of nineteenth- and twentieth-century American art.
Scope and Contents:
The collection is comprised of 2,335 photomechanical prints documenting the works of American artists between 1890 and 1945. The collection documents drawings, graphic prints, paintings, and other works of art by late 19th and early 20th century American artists.
Included in the collection are works by such notable artists as: Edwin Austin Abbey, Washington Alston, Cecilia Beaux, George Bellows, Thomas Hart Benton, Mary Cassatt, William Merritt Chase, Thomas Cole, John Singleton Copely, John Steuart Curry, Thomas Eakins, Child Hassam, Robert Henri, Winslow Homer, Edward Hopper, Yasuo Kuniyoshi, Maxfield Parrish, Frederick Remington, John Singer Sargent, Dwight William Tryon, John Trumbull, Benjamin West, James A. McNeil Whistler, and Grant Wood.
Studios and publishers represented include: Braun, Clements & Cie, Detroit Publishing Co.; and Evans & Cameron.
The collection is arranged alphabetically by artist, then title.
In 2001, as part of a Smithsonian American Art Museum office relocation move, 2,729 prints by European artists were separated from the collection and transferred to the J. Paul Getty Museum's Photograph Archives.
Transfer from Library of Congress, Gift and Exchange Program, 1987.
Researchers may use prints on file in the Photograph Archives, Smithsonian American Art Museum. Advance appointments are required.
Copyright restrictions may apply.
Art, American-Photomechanical reproductions Search this
Library of Congress Copyright Deposit Collection, Photograph Archives, Smithsonian American Art Museum.
Funding from the Smithsonian Womens' Committee provided support for an initial inventory of the collection.
United States. Office of Strategic Services Search this
10.1 Linear Feet
The papers of museum director, art consultant and curator Otto Wittmann (1911-2001)date from 1932 to 1996 and measure 10.1 linear feet. The bulk of the collection consists of correspondence and other files concerning Wittmann's career as Director of the Toledo Museum of Art and as trustee and acting chief curator of the Getty Museum in Los Angeles. Eleven scrapbooks contain materials primarily relating to the activities of the Toledo Museum of Art, but also contain documentation of Wittmann's World War II service in the Art Looting Investigation Unit (ALIU) of the U.S. Office of Strategic Services, the precursor to the present day CIA. Also found within the papers are files relating to his work with the National Endownment of the Arts, Arts and Artifacts Indemnification Committee, scattered biographical information, and personal correspondence.
Scope and Content Note:
The papers of museum director, art consultant and curator Otto Wittmannn (1911-2001)date from 1932 to 1996 and measure 10.1 linear feet. The bulk of the collection consists of correspondence and other files concerning Wittmannn's career as Director of the Toledo Museum of Art and as trustee and acting chief curator of the Getty Museum in Los Angeles. Eleven scrapbooks contain materials primarily relating to the activities of the Toledo Museum of Art, but also contain documentation of Wittmannn's World War II service in the Art Looting Investigation Unit (ALIU) of the U.S. Office of Strategic Services, the precursor to the present day CIA. Also found within the papers are files relating to his work with the National Endownment of the Arts, Arts and Artifacts Indemnification Committee, scattered biographical information, and personal correspondence.
Biographical information includes a biographical sketch and an index of an interview of Wittmannn by Richard Candida Smith. Correspondence is mostly personal and with family, friends, and colleagues.
Professional files include Wittmann's files from the Toledo Museum of Art that consist of general operations and administrative files from the director's office. Wittmann's role as an art consultant and advisor to the Owens Corning Fiberglass Corporation is documented, as well as his many affliations with professional arts associations, arts organizations, and other museums and institutions.
Files documenting Wittmann's consulting and curatorial work for the Getty Museum are arranged in a separate series and consist of chronological correspondence and scattered expense reports. Correpondence concerns the development of the Getty Museum's early art collecting policy and the general formation of the museum.
There seven files relating to Wittmann's work for the National Endowment for the Arts, Arts and Artifacts Indemnification Committee.
Eleven scrapbooks dating from 1932 to 1977 focus on a variety of subjects, including the Hyde Collection, Skidmore College, the U.S. Army Air Force, the Toledo Museum of Art, and the Getty Museum. Found within the scrapbooks are mixed formats, such as correspondence, biographical information, clippings, brochures, and photographs. The scrapbook dating from 1932 to April 1959 contains scattered photographs from Wittmannn's service in the Art Looting Investigation Unit (ALIU) of the U.S. Office of Strategic Services.
The collection is arranged as 6 series:
Series 1: Biographical Information, 1995-1996 (Box 1; 2 folders)
Series 2: Correspondence, 1959-1990 (Box 1; 0.6 linear feet)
Series 3: Professional Files, 1947-1986 (Boxes 1-6, OV18; 5.2 linear feet)
Series 4: Getty Museum Files, 1978-1991 (Boxes 6-9; 1.7 linear feet)
Series 5: National Endowment for the Arts, Arts and Artifacts Indemnity Files, 1976 (Box 9; 0.2 linear feet)
Series 6: Scrapbooks, 1932-1977 (Boxes 10-17; 2.4 linear feet)
Otto Wittmann (1911-2001) was director of the Toledo Museum of Art in Toledo Ohio from 1959-1976. He left Toledo to work as an arts consultant, trustee, and acting chief curator for the Getty Museum in Los Angeles from 1978 though 1989. During World War II, he served in the Army Air Force and as a special intelligence officer assigned to locate and return works of art looted by the Nazis.
Otto Wittmann was born in Kansas City, Missouri on September 1, 1911. He graduated from Harvard University with a fine arts degree in 1933 and returned to Kansas City to become the Curator of Prints at the Rockhill Nelson Gallery of Art, the first art museum in the city. Later, he enrolled at Skidmore College for graduate studies and worked at The Hyde Collection in Glen Falls, New York.
During World War II, Wittmann served as a Major with the Air Force in the Air Transport Command. He was transferred to the Art Looting Investigation Unit (ALIU) in Washington, D.C. under the Office of Strategic Services. He spent long periods in Paris and Munich assisting with looted art recovery, investigating transactions in Sweden and Switzerland, and working with the collection centers set up in France. Years later, at the Toledo Museum of Art, he curated an exhibition of recovered artwork, and invited the U.S. Army members that assisted with protecting the artwork.
After the war, Wittmann accepted a position at the Toledo Museum of Art (TMA), working there for thirty years and as director from 1959-1976. During his tenure, he tripled the museum's collection of artwork and expanded its exhibition space. Under his direction, the museum was one of the first American museums to display sculpture, painting, furniture, and decorative arts in one setting.
In 1978, the Getty Museum in Los Angeles hired Wittmann as an acquisitions consultant as the museum began to spend the huge billion dollar trust left behind by J. P. Getty. Many institutions and the art market in general were nervous that the Getty's new and huge purchasing power would drive up prices and shut out other institutions and museums from acquiring works of art. Wittmann, however, steadied the Getty's purchases and kept prices competitive enough so that other museums could outbid him if they desired. Within a year, he was appointed to trustee and, shortly thereafter, as acting chief curator until 1983. The Getty named Wittmann a trustee emeritus in 1989.
Otto Wittmann was among the first museum professionals to encourage the establishment of Federal programs for the arts. He was one of the founding members of the National Council on the Arts and served on the museum advisory panel for the National Endowment for the Arts and on the arts advisory panel for the Internal Revenue Service. He was the first chairman of the Advisory Committee to the Federal Council of Arts and Humanities responsible for implementing the intial programs of the Federal Arts Indemnity Act. He was active in many national professional arts associations.
In 1947, Otto Wittmann married Margaret Hill, with whom he had two sons, John and William. Wittmannn died in 1997 in Montecito, California.
The Archives of American Art has an oral history interview with Otto Wittmann conducted by Paul Cummings on August 19-20, 1976, and another conducted by Thomas Carr Howe on October 25, 1976.
Otto Wittmann donated his papers to the Archives of American Art in 1991 and 1995.
Use of original papers requires an appointment.
The Otto Wittmann 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.