Wyant writes from Carlsruhe, Westphalia, Germany about his mentor Hans Gude, mentions his own work, traveling to England, Switzerland, and Paris to study works of art, and buying works of art for Turlay.
Biographical / Historical:
Landscape painter; New York, N.Y.
Provenance:
Provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Landscape painters -- New York (State) -- New York Search this
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life and discuss his painting, the inspiration he found in nature, his studio, and concerns relating to commissions and finances.
Scope and Content Note:
This small collection measures 0.2 linear feet and comprises 13 letters written by renowned Hudson River School landscape painter Albert Bierstadt between 1860 and 1900. The majority of the letters were penned in the last two decades of his life.
Bierstadt writes specifically of his work in several of the letters and refers to two paintings, Laramie Peak and The Jungfrau. In one letter he writes of the inspiration he finds in nature through his love of the mountains. Bierstadt invites friends to his studio in New York City, mentions a trip to Yosemite in the 1870s and writes letters of introduction on behalf of friends. Two of the letters concern commissions and discuss financial matters.
Arrangement:
Due to the small size of this collection, items are arranged as one chronological series.
Missing Title
Series 1: Albert Bierstadt Letters, 1860-1900 (Box 1; 13 items)
Biographical Note:
Albert Bierstadt was born in Solingen, Germany, in January 1830. His family emigrated to the United States when he was two years of age and settled in Bedford, Massachusetts.
In 1853 Bierstadt traveled to Germany to study painting at the Düsseldorf Art Academy. In 1858, following his return to the United States, he gained national attention for organizing a large exhibition of paintings including fifteen of his own works. Bierstadt drew inspiration from the painters of the Hudson River School, and regularly visited the White Mountains of New Hampshire to make sketches for his landscape paintings.
In 1859 Bierstadt traveled to the Colorado and Wyoming territories sketching landscapes in the company of a United States government survey expedition. On his return he took studio space at the new Tenth Street Studio Building in New York City and began a series of large-scale western landscape paintings, including Yosemite Valley and Thunderstorm in the Rocky Mountains. These paintings, known for their theatrical and romantic depiction of the grandeur and drama of the American West, brought Bierstadt great popularity during the 1860s.
Bierstadt's paintings were widely exhibited in the United States and abroad and commanded some of the highest prices in American art at the time, although his reputation began to decline somewhat in the 1880s in the face of changing public tastes.
Bierstadt was a member of the Century Association from 1862-1902 and a member of the National Academy of Design from 1860 until his death in 1902.
Related Material:
Also found at the Archives of American Art are the Robert Neuhaus papers concerning Clyfford Still and Albert Bierstadt, 1884-1984 (bulk 1941-1984). A circa 1875 photograph of Bierstadt by Bierstadt Brothers given to the Archives by an unknown donor is available in the Archives of American Art's Photographs of Artists Collection I and online.
Provenance:
The collection was acquired by the Archives of American Art in a series of accessions between 1955 and 2001. Six letters were donated by Charles Feinberg in 1955-1957; one letter was donated by Letitia Howe in 1976; one letter was donated by Mrs. Miles Reber, grandaughter-in-law of General Nelson in 1976; two letters were purchased from Charles Hamilton Autographs in 1956; one letter was purchased from Steele in 1956; and one letter was purchased from Scott J. Winslow Associates in 2001.
Restrictions:
The collection has been digitized and is available online via the Archives of American Art website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
25 Items (photographic prints, some sepia toned, 19 x 24 cm. and smaller.)
4 Photographic prints (col., 10 x 15 cm.)
Type:
Collection descriptions
Archival materials
Photographic prints
Date:
1896-1950
bulk 1898-1906
Scope and Contents:
25 photographs, including several posed portraits, of du Vannes, du Vannes with his wives, with a client, painting in his St. Paul and New York studios, and in his New York art gallery. Also included are four color photos, including one of du Vannes' son, Armand, with paintings by his father, mother, and a portrait of Armand by Benton Scott, and one each of the paintings. A caricature of du Vannes from the St. Paul Dispatch, ca. 1902, captioned "Albert di Giovanni - The Young St. Paul Artist Who Left for New York Yesterday," signed Rhodes, and a brief biography of du Vannes by his son complete the collection.
Biographical / Historical:
Landscape and portrait painter, art dealer; New York, N.Y. Born Albert Di Giovanni in Naples, Italy. Came to the U.S. in 1894, first to St. Paul, Minnesota, moving ca. 1902 to New York City. Later gave up painting and opened up an art gallery. Changed his name in 1926. Died in Naples, Italy.
Provenance:
Donated 1990 by Armand du Vannes, Albert du Vannes' son.
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.
Occupation:
Landscape painters -- New York (State) Search this
Putnam, Patrick Tracy Lowell, 1903 or 4-1953 Search this
Extent:
40 Items
Type:
Collection descriptions
Archival materials
Place:
Africa, Central -- Description and Travel
Date:
1936-1968
Summary:
The scattered papers of painter Anne Eisner Putnam consist of 40 items and date from 1936 to 1968. Found is an application for Who's Who of American Women, and two letters concerning her book and artwork. Printed material includes clippings (1936-1965) about exhibitions of her artwork in New York, her experiences in Africa, press releases, and her obituary. Photographs are of Putnam's paintings; of Putnam at "Camp Putnam" in the Ituri Rainforest in the Belgian Congo (now Democratic Republic of the Congo) with members of one of the Congo Pygmy tribes; a snapshot of Putnam; and a portrait of Patrick Tracy Lowell Putnam.
Scope and Contents:
The scattered papers of painter Anne Eisner Putnam consist of 40 items and date from 1936 to 1968. Found is an application for Who's Who of American Women, and two letters concerning her book and artwork. Printed material includes clippings (1936-1965) about exhibitions of her artwork in New York, her experiences in Africa, press releases, and her obituary. Photographs are of Eisners' paintings; of Putnam at "Camp Putnam" in the Ituri Rainforest in the Belgian Congo (now Democratic Republic of the Congo) with members of one of the Congo Pygmy tribes; a snapshot of Putnam; and a portrait of Patrick Tracy Lowell Putnam.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Anne Eisner Putnam (1911-1967) was an abstract painter, a landscape painter, a watercolorist, a printer, and a writer. Additionally, she and her husband were collectors of African art.
Putnam attended the Art Students League and was the secretary for the Federation of Modern Painters and Sculptors. She married anthropologist Patrick Tracy Lowell Putnam and together they moved to Africa. From 1945 to 1953, Putnam lived in a Pygmy village in the Belgian Congo (now Democratic Republic of the Congo) in the Ituri Rainforest, and devoted her painting and writing talents to portraying the life of the Congo Pygmies and African flora and fauna. Her collection of African art was exhibited in 1967 at the Museum of Natural History, New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N70-10 including correspondence, clippings, photographs and sketchbooks primarily relating to her life in the Belgian Congo among Pygmies with her husband, anthropologist Patrick Tracy Lowell Putnam. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
William J. Eisner, the father of Anne Eisner, donated her papers to the Archives of American Art in 1970.
Restrictions:
The collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. PLease refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Congo (Democratic Republic) Search this
Painters -- New York (State) -- New York Search this
Processing of this collection received Federal support from the Collections Care Initiative Fund, administered by the Smithsonian American Women's History Initiative and the National Collections Program.
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Scope and Content Note:
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Biographical material includes genealogical notes, biographical accounts, a baptismal record, marriage license, driver's license, membership cards, an award medal and ribbons, a death certificate, and address books.
Letters are incoming only from friends and colleagues, including Christmas cards from Clifford K. Berryman, Paul Bransom, James Russell Lowe, Rowland Lyon, and Francis Bowes Sayre. There is also a photocopy of a letter from Lou Henry Hoover.
Personal business records include a copy of a patent for Moore's design for an artist's kit, a deed for Moore's father's gallery, priced labels for art work in various media, lists of art work, price lists, records of art work sold, bank account records, miscellaneous receipts, and a ledger concerning Moore's works left in trust after his death.
Notes and writings consist of nine poems by Moore, lists of titles of art work sold, lists of art work by others, and a funeral registry book listing mourners' names. The most notable item in this series is a log book of The Ramblers containing a typescript describing the history of this early 20th century art club.
Art work comprises the most significant series in the collection. It includes 1040 drawings, 43 watercolor sketches, 526 etchings, 187 lithographs, 8 paintings and 5 relief sculptures. Subjects depicted are primarily wildlife and nature, landscapes, seascapes, and scenes of towns and notable buildings primarily in and around Washington, D.C. There are scattered portrait drawings and etchings by Moore of fellow artists Herbert F. Clark, Robert G. Cornett, August H. O. Rolle, and Charles Seaton. There are also 5 bas-relief sculptures.
Twelve scrapbooks contain prints by Moore, letters, printed materials, and photographs of Moore and his artwork. Scrapbook 10 contains a photograph of a Landscape Club banquet at the Cosmos Club.
Printed material consists of clippings, exhibition announcements and catalogs, a prospectus from the Society of Animal Artists, book Animals of American History illustrated by Paul Bransom, miscellaneous booklets and brochures concerning art-related topics, travel brochures for New York State, and reproductions of art works.
Photographs are of Benson Bond Moore, his family, residence, colleagues including members of The Ramblers painting outdoors, and of art work. There are also travel photographs of locations in the United States.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Material, 1908-1974 (Box 1; 6 folders)
Series 2: Letters, 1912-1993 (Box 1; 40 folders)
Series 3: Personal Business Records, 1924-1994 (Box 1-2; 0.7 linear feet)
Series 4: Notes and Writings, 1902-1974 (Box 2; 8 folders)
Series 5: Art Work, 1904-1991 (Box 2-4, 6, OV 8; 2.2 linear feet)
Series 6: Scrapbooks, 1919-1973 (Box 4, 7; 0.9 linear feet)
Series 7: Printed Material, 1916-1995 (Box 5-6, OV 8; 1.0 linear feet)
Series 8: Photographs, 1924-1971 (Box 5-7, OV 8; 0.7 linear feet)
Biographical Note:
Benson Bond Moore (1882-1974) of Washington, D.C. and Sarasota, Florida, was a printmaker, landscape painter, art teacher, and picture restorer.
Benson Bond Moore was born on August 13, 1882 in Washington, D.C., the first child of Caroline and John Benson Moore. From an early age, Moore assisted his father in his picture restoring business. In 1902, he was employed by the Maurice Joyce Photo-Engraving Co., and soon afterwards produced a series of technical drawings for Alexander Graham Bell.
Moore studied at the Corcoran School of Art, and, in 1914, he joined The Ramblers (later the Washington Landscape Club), a group of artists who went on painting and drawing expeditions in the environs of Washington, D.C. Moore taught etching at the private Hill School of Art and was an active member of many regional art associations. He was also a founding member of the Miniature Painters, Sculptors and Gravers Society. Following the death of his wife Florence (Flossie) in the early 1950s, Moore moved to Sarasota, Florida.
Benson Bond Moore died on October 30, 1974 in Sarasota, Florida.
Separated Material:
Printmaking tools, lithographic plates, and a 24 x 30 inch display board exhibiting specimen prints and plates and a pocket barometer were transferred to the National Museum of American History, Department of Information Technology and Society.
Provenance:
The Benson Bond Moore papers were donated by Barbara Nikla and John J. Lyons in 1996, as representatives of the estate of the artist's sister-in-law, Mary Jane Moore. Additional material was donated 1997 from the estate by other relatives, Martha Sigmon and her sister Georgia King.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Landscape painting -- 20th century -- Washington (D.C.) Search this
The papers of sculptor Bessie Potter Vonnoh measure 3.1 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and professional and personal correspondence, primarily Bessie's. The collection also contains scattered biographical materials, photographs of the Vonnohs, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
There is a 2.3 linear foot unprocessed addition to this collection donated in 2022 that includes typescripts of Vonnoh's journals; scrapbooks; photographs of Vonnoh, works of art and events and photograph albums; letters to Vonnoh; exhibition catalogs and other printed material; and biographical material including marriage certificate and Last Will and Testament. Materials date from circa 1875-1991.
Scope and Content Note:
The papers of sculptor Bessie Potter Vonnoh measure 3.1 linear feet and date from circa 1860 to 1991, with the bulk of material dating from 1890 to 1955. The scattered papers document the personal life and career of Bessie Potter Vonnoh, and, to a lesser degree, her husband, painter Robert William Vonnoh. Found within the papers are Vonnoh family correspondence, including letters between Bessie and Robert, and primarily Bessie's professional and personal correspondence. There is one folder of correspondence of Robert William Vonnoh. Bessie's correspondents include Daniel Chester French, Hamlin Garland, Rupert Hughes, Archer Huntington, Larkin G. Mead, Jean Francois Raffaelli, Cornelia Otis Skinner, and others. Robert's correspondents include Charles M. Carter, Daniel Chester French, William M. R. French, and Charles Vezin. The collection also contains scattered biographical materials, photographs of Bessie Potter Vonnoh and Robert William Vonnoh, a photograph album, photographs of artwork, clippings, exhibition catalogs, and other printed material.
There is a 2.3 linear foot unprocessed addition to this collection donated in 2022 that includes typescripts of Vonnoh's journals; scrapbooks; photographs of Vonnoh, works of art and events and photograph albums; letters to Vonnoh; exhibition catalogs and other printed material; and biographical material including marriage certificate and Last Will and Testament. Materials date from circa 1875-1991.
Arrangement:
The collection is arranged into 5 series:
Missing Title
Series 1: Biographical Material, 1922-1955 (Box 1; 5 folders)
Series 2: Correspondence, circa 1863-1985 (Box 1; 11 folders)
Series 3: Photographs, circa 1860-1950 (Box 1-2; 0.4 linear feet)
Series 4: Printed Material, 1901-1991 (Box 2; 9 folders)
Series 5: Unprocessed Addition, circa 1875-1991 (Boxes 3-5; 2.3 linear feet)
Biographical Note:
Bessie Potter Vonnoh (1872-1955) was born in St. Louis, Missouri to Alexander and Mary McKenney Potter. In 1874, after the death of her father, her family moved to Chicago. Also at this time, she suffered from a series of illnesses that she did not recover from until she was ten. In school she enjoyed clay-modeling class and decided at an early age that she wanted to be a sculptor. Beginning in 1890 she studied with Lorado Taft at the Art Institute of Chicago and later became one of his assistants (known as the "White Rabbits") for the World's Columbian Exposition of 1893. She was also given her own commission for the Illinois building at the fair. After this success, Vonnoh opened her own studio in Chicago and made plaster figurines of society women, friends, and their children. She visited New York and took her first trip to Paris in 1895, visiting the studios of many eminent sculptors such as Auguste Rodin. Her work was influenced by the American Impressionist movement, depicted in one of her most famous works, Young Mother. This piece was exhibited in the National Sculpture Society exhibition of 1898 and led to several public sculpture commissions.
In 1899 Bessie Potter Vonnoh moved to New York City and married Impressionist painter, Robert William Vonnoh (1858-1933). They lived in New York and maintained a summer home in Lyme, Connecticut. During her career she received many awards for her works at international exhibitions, including two bronze medals at the Paris Exposition in 1900. Other landmark events included a solo exhibition at the Brooklyn Museum in 1913 and membership into the National Academy of Design in 1921 - the first female sculptor accepted as a permanent member. Vonnoh's work was very well received by the public, and in the 1920s she began working on a larger scale, creating large fountains, such as the Frances Hodgson Burnett Memorial Fountain in Central Park, New York, and other decorative garden figures. Robert Vonnoh died in 1933 and, in 1948, she married Dr. Edward Keyes. Bessie Potter Vonnoh died in New York City in 1955 at the age of 82.
Provenance:
The collection was donated in 1995 by Lulette Jenness Thompson, a cousin of Bessie Potter Vonnoh and in 2022 by Kerry Oliver-Smith, who received the collection from his father, Waren McKenney, a second cousin of Vonnoh.
Restrictions:
This bulk of the collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Thi 2022 addition to this collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
3 letters to and from family members; family records of births, deaths and marriages; a sketchbook and 3 loose sketches; 3 photographs identified as George G. Needham; a handmade book of verses, by Charles Needham, "Somewhere in Old New York," 1918; calendar notes containing biographical information and important events; 2 exhibition announcements 1910 and 1916; a clipping about Needham; and an invitation list.
Biographical / Historical:
Landscape painter, sculptor, illustrator, craftsman, and poet; New York City. Death date also given as 1923.
Provenance:
The material was loaned to the Archives by Robert Coggins, via Bruce W. Chambers, who was researching Coggins' collection of Needham's work for a catalog.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Artists -- New York (State) -- New York Search this
Correspondence, sketchbooks, diaries, writings, printed material, photographs, and scrapbooks.
REEL 1033: Letters, including 2 from George Bellows and 17 from Eugene Speicher.
REELS 1118-1119: Biographical data and certificates; correspondence with many American artists; a European diary, 1909; writings, lectures and notes by and about Rosen; records of his paintings; sketches and sketchbooks; scrapbooks; exhibition catalogs, clippings and art school catalogs; and reproductions of portraits of Rosen.
REEL 1130: Photographs of Rosen as a young man, teaching and working, and with friends. Other photographs include the Carnegie Institute Jury, 1931; Rosen's friends, many of whom are American artists at Woodstock; Seminole Indians and a mural in Florida; and people and houses in Texas.
Photographs of artists include George Bellows, Ernest Blumenschein, Dennis Burlingame, Jo Cantine, John Carroll, Konrad Cramer, Andrew Dasburg, Randall Davey, Buckminster Fuller, Wendell Jones, Yasuo Kuniyoshi, Henri E. Le Sidaner, Jonas Lie, Eugene D. Ludins, Ethel Magafan, Henry Mattson, Henry McFee, Paul Nash, Homer Saint-Gaudens, Judson Smith, Eugene Speicher, John Striebel, and Carl Walters.
Biographical / Historical:
Landscape painter, printmaker, instructor; Woodstock, N.Y. Studied at the National Academy of Design with Chase and DuMond. Associate Member and Academician, National Academy of Design. Painted murals for the United States Post Offices in Beacon and Poughkeepsie, N.Y. and Palm Beach, Fla.
Provenance:
Material on reel 1033 lent for microfilming by Katherine Rosen Warner, Rosen's daughter, 1975. Other material donated by Warner, 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Landscape painters -- New York -- Woodstock Search this
Topic:
Artists -- United States -- Photographs Search this
Landscape painting -- New York (State) Search this
Mural painting and decoration -- 20th century -- Florida -- Palm Beach -- Photographs Search this
Painting, Modern -- 20th century -- New York (State) -- Woodstock Search this
The papers of cartoonist Denys Wortman measure 2.0 linear feet and date from 1887 to 1980. The collection includes biographical material, correspondence, personal business records, writings, interviews, artwork, printed material, and photographs.
Scope and Contents:
The papers of cartoonist Denys Wortman measure 2.0 linear feet and date from 1887 to 1980. The collection includes biographical material, correspondence, personal business records, writings, interviews, artwork, printed material, and photographs.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1913-1958
Series 2: Correspondence, circa 1911-1980
Series 3: Personal Business Records, 1921-1954
Series 4: Writings, undated, 1918-1927
Series 5: Interviews, undated, circa 1952
Series 6: Artwork, undated, 1919
Series 7: Printed Material, circa 1903-1978
Series 8: Photographs, circa 1887-1956
Biographical / Historical:
Denys Wortman (1887-1958) was an American cartoonist in New York, New York. Born in Saugerties, New York, Wortman studied engineering at Stevens Institute of Technology and at Rutgers College. From 1906-1909, he attended the Chase School of Art in New York City with Kenneth Hayes Miller and classmates George Bellows, Edward Hopper, and Rockwell Kent. Beginning as a landscape painter from the "Gloucester School," Wortman's career changed when his drawings of life as a sailor in World War I were published in the New York Tribune. From 1924-1954, his daily cartoons "Metropolitan Movies" and "Mopey Dick and the Duke" mirrored New York life in the New York World-Tribune.
Separated Materials:
Thirty-five letters to Wortman from friends and colleagues (1910-1957) were microfilmed on reel 3014 and returned to Hilda R. Wortman after microfilming. Letters are from Gifford Beal, James Cagney, Stuart Davis, Guy Pène du Bois, Juliet and Pier Hamilton, Edward and Jo Hopper, Kenneth Hayes Miller, Herbert Satterlee, John Sloan, Austin Strong, Frank Sullivan, William Sulzer, Gluyas Williams, and Mahonri Young. Microfilm reel 3014 is available at Archives of American Art offices and for interlibrary loan, but is not further described in the container listing of this finding aid.
Provenance:
The Denys Wortman papers were donated by Hilda Wortman, Wortman's widow in 1979-1983. Denys Wortman Jr., Wortman's son, donated the Craven interview tape in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
Unfilmed: Authorization to publish, quote or reproduce requires written permission from Denys Wortman, Jr.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Cartoonists -- New York (State) -- New York Search this
Use of original papers requires and appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jervis McEntee papers, 1796, 1848-1905. Archives of American Art, Smithsonian Institution.
The papers of artist and art patron Dorothea A. Dreier measure 2.6 linear feet and date from 1881-1941, with the bulk of the material dating from 1887-1923. The papers document the life and work of Dorothea Dreier and also contain the papers of and about members of her immediate family, particularly her sisters, Mary and Katherine Dreier, and Margaret Dreier Robins. Found are correspondence, printed materials, legal and financial records, photographs, and one sketchbook by Dreier.
Scope and Content Note:
The papers of the painter Dorothea A. Dreier measure 2.6 linear feet and date from 1881 to 1941, with the bulk of the materials dating from 1887-1923. These papers document not only her life and work as an artist, but also the activities of her distinguished family in the realms of social reform, women's suffrage, and politics, through correspondence, newspaper clippings, pamphlets, broadsides, exhibition catalogs, publications, photographs, ephemera, a sketchbook, and legal and financial records.
Biographical materials include official documents, childhood writings, notes, ephemera, membership cards, invitations, programs, notes, lists, and legal and financial records.
Measuring 1.2 linear feet, correspondence is the largest and most extensive series and consists of letters from family and close friends as well as business correspondence. Although the letters in this series span from 1881-1925, a large number stem from Dorothea's 1913-1916 stay at Saranac Lake for treatment of her tuberculosis.
Family correspondents consist of members of Dorothea's immediate family as well as more distant relations, including those who resided in her parent's native Germany. Letters from her sisters Mary E. Dreier, and Margaret (Gretchen) Dreier Robins, her sister-in-law Ethyl Eyre Valentine Dreier and brother-in-law Raymond Robins provide some insight into the varied social reform and political movements, such as women's suffrage and the Bull Moose Party, with which they were allied. Additionally both Mary and Margaret were active in the Women's Trade Union League, Margaret having served as the League's president from 1907-1922. Therefore their correspondence is a rich resource for scholars interested in women's history and the history of the Progressive Era in the United States.
Due to their shared interest in the arts, her sister Katherine S. Dreier's letters provide information about her own work as an artist, particularly when she was studying abroad, exhibitions in which she participated or visited, and the Cooperative Mural Workshop, a combination art school and workshop that she ran from 1914-1917 with Walt Kuhn, with substantial financial help from Dorothea.
Additionally through her Brooklyn neighborhood, art classes, and support of numerous social causes, Dorothea had a large circle of friends. Frequent correspondents include the Bartlett sisters, Agnes, Mary, and Maud, Rebecca Forbes, Ellen Kuhn Mahan, and Charlotte Schetter. Notable art world correspondents include Vincent van Gogh's sister Elisabeth du Quesne van Gogh, the American Tonalist landscape painter Charles Harold Davis and Dreier's painting instructor and close friend, the painter Walter Shirlaw.
Printed materials reflect the varied interests and activities of Dorothea Dreier and select members of her immediate family through exhibition announcements, catalogs, including a numbered copy of the The Dorothea A. Dreier Exhibition from the memorial exhibition of her work at the Brooklyn Museum of Art in 1925, newspaper clippings relating to her career, the activities of other members of the Dreier family, art and politics; as well as pamphlets, broadsides, brochures and blank postcards.
Photographs include both studio portraits and informal snapshots of Dorothea and Katherine Dreier; group photographs including Dorothea; travel photographs, many of which appear to have been taken in the Netherlands; and photographs of Teddy Roosevelt giving a speech at a railway station. Artworks include a sketchbook by Dreier, five sketchbooks by friend and teacher, Walter Shirlaw, and an unidentified artist, a pencil drawing by Shirlaw, an engraving by Huquier and an etching by Ernest D. Roth.
Arrangement:
The collection is arranged into 5 series:
Missing Title
Series 1: Biographical Material, 1884-1923 (Box 1; 0.75 linear feet)
Series 2: Correspondence, 1881-1925 (Boxes 1-2; 1.2 linear feet)
Series 3: Printed Material, 1883-1916 (Boxes 2-3; 0.5 linear feet)
Series 4: Photographs, circa 1900-1923 (Box 3; 7 folders)
Series 5: Artwork, circa 1885-1941 (Boxes 3-4; 9 folders)
Of all the Dreier sisters, Dorothea is the least well-known and there is scant information about her artistic career. It appears that she began her formal art training with John Twachtman and William Merritt Chase, although accounts disagree as to whether it took place at the Art Students League or the National Academy of Design. In 1904 Dorothea and her sister Katherine began studying with the painter Walter Shirlaw, with whom they developed a close friendship. Both sisters also traveled abroad frequently as the family maintained close ties with their German relatives and they combined these visits with trips to museums and galleries throughout Europe where they studied the works of the Old Masters as well as more contemporary artists. As evidenced by her series of oil paintings of Dutch weavers of 1908, Dorothea was greatly influenced by Van Gogh's early paintings of rural Dutch peasant life and she spent long periods abroad living and painting in Laren, The Netherlands. Her later paintings depicted landscapes, both in The Netherlands and the Adirondacks, as well as a series of New York street scenes.
Unfortunately, during a 1913 sojourn in Laren, Dorothea contracted tuberculosis. She remained at Saranac Lake, a renowned treatment center in the Adirondacks from late December 1913 to sometime in 1916. During her convalescence, Dorothea remained actively involved in the arts as she continued to paint and draw and supported her sister Katherine's work at the Cooperative Mural Workshop, a short-lived combination art school and workshop that focused on the decorative arts.
The Schlesinger Library at the Radcliffe Institute of Harvard University holds the papers of Mary E. Dreier
Provenance:
The bulk of the collection was donated to the Archives of American Art in 1959 by Mrs. Peter Voorhees, Dorothea A. Dreier's neice. Additional materials were donated in 2007 by Theodore and Barbara Dreier, Dreier's great-nephew and great-neice.
Restrictions:
The bulk of this collection has been digitized and is available online via the Archives of American Art's website.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
The papers of Edward Gay and the Gay family measure 2.6 linear feet and date from 1852 to 1983. Found within the papers are biographical materials on Edward and Duncan Gay; personal correspondence from Edward Gay, his wife Martha Feary Gay, and other family members; artwork by Edward and Duncan Gay; writings; printed materials; and photographs of Edward and Duncan Gay, their family, and their work.
Scope and Contents:
The papers of Edward Gay and the Gay family measure 2.6 linear feet and date from 1852 to 1983. Found within the papers are biographical materials on Edward and Duncan Gay; personal correspondence from Edward Gay, his wife Martha Feary Gay, and other family members; artwork by Edward and Duncan Gay; writings; printed materials; and photographic materials of Edward and Duncan Gay, their family, and their work.
Papers of Edward Gay include legal documents; family and business correspondence, including correspondence from fellow artists; writings, including reminiscences by Martha Gay; printed materials; artwork, including one sketchbook; a small selection of business papers related to the Artists' Fund Society; and photographs of Edward and Martha Gay, their homes, and Gay's artwork.
Papers of Duncan Gay include biographical materials; family correspondence; printed material; artwork, including three sketchbooks and sketches of house plans; and photographic materials of Duncan Gay, his travels, and his artwork.
Gay family papers consist primarily of correspondence to Ingovar Gay and Helen Gay Learned, and photographs of the Gay family, extended family members, and friends.
Arrangement:
The collection is arranged as 3 series.
Missing Title
Series 1: Edward Gay Papers, 1852-1983 (0.8 linear feet; Box 1, OV 4-5)
Series 2: Duncan Gay Papers, 1870-1983 (0.5 linear feet; Boxes 1-2)
Series 3: Gay Family Papers, 1888-1970 (1.3 linear feet; Boxes 2-3)
Biographical / Historical:
Landscape painter Edward Gay (1837-1928) lived and worked in Mount Vernon and Cragsmoor, New York and was known for his works depicting the local countryside of upstate New York and the Hudson River Valley.
Born in Mullingar, Ireland to Richard and Ellen Gay, his family immigrated to Albany, New York in 1848. After showing an early affinity for art, Gay began his studies in the studio of local landscape painters William and James Hart. Under the Harts' advisement, Gay traveled to Karlsruhe, Germany in 1862 to continue his studies with Johann Wilhelm Schirmer and Karl Friedrich Lessing. After returning to America in 1864, Gay married the art critic Martha Feary and lived for a short time in New York City before moving his family to Mount Vernon and eventually purchasing a home there in 1870. He exhibited in museums and galleries throughout America and painted murals for public libraries in Mount Vernon and Bronxville, New York. Gay was a member of the National Academy of Design, New York Artists' Fund Society, and Lotus Club, and was a recipient of the National Academy's George Inness Gold Medal and the Society of American Artists' Shaw Prize.
Duncan Gay (1865-1948), Edward Gay's eldest son, was also an artist. Duncan worked as a draftsman and designer for Louis Comfort Tiffany, where he remained employed prior to becoming a self-employed artist and stained glass designer.
Provenance:
The papers were donated in separate accessions beginning in 1959 by Edward Gay's daughter, Dorothy Gay Gordon. Additional materials on Edward Gay were donated by Gay's grandson, Richard G. Coker, in 1974. From 1983 to 1995, materials on Edward and Duncan Gay and the Gay family were donated by Susanne G. Linville, Duncan Gay's daughter.
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 Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Landscape painting -- 20th century -- New York (State) Search this
Landscape painting -- 19th century -- New York (State) Search this
Landscape painters -- New York (State) Search this
Genre/Form:
Photographs
Sketches
Sketchbooks
Citation:
Edward Gay and Gay family papers, 1852-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for digitization of the Edward Gay and Gay Family Papers was made possible by a gift from Edward Gay's descendants Gay Fort Boswell, Wickie Fort Bridgforth, Melanie Fort Christian, Caleb Fort, Edward Fort, Hamlet Fort, James Fort, William Fort, Claudia Fort Heath, Jack Linville, and Jim Linville, in memory of Daniel Wilkins Fort
Notebook, ca. 1830-1845, kept by Edwin Weyburn Goodwin listing portraits painted, the date, and payment received for each work; a few letters from Richard La Barre Goodwin which give an account of his service in the Civil War; photographs of Richard La Barre Goodwin's paintings; and correspondence of his daughter, Claribel Goodwin, relative to contemporary exhibitions of his work.
Biographical / Historical:
Edwin Weyburn Goodwin was an itinerant miniature and portrait painter in upstate New York. During his fifteen year career, ca. 1830-1845, he painted approximately 800 portraits. His son, Richard La Barre Goodwin, was a landscape, portrait and still-life painter; best known as a painter of fish and game. Until ca. 1880, Richard La Barre Goodwin, like his father, was an itinerant painter of portraits in upstate New York.
Other Title:
Richard La Barre Goodwin papers (microfilm title)
Provenance:
The lender, Miss Claribel Goodwin, is the granddaughter of Edwin Weyburn Goodwin and daughter of Richard La Barre Goodwin.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Landscape painters -- New York (State) Search this
Miniature painters -- New York (State) Search this
Writings, sketchbooks, sketches, and printed material.
REEL 3615: A typescript of Part I of Daingerfield's autobiography, "Beginnings" (40 p.); an 8 p. biographical sketch; and two family histories; a 1913 inventory of paintings by various artists owned by Daingerfield; directions and a sketch for constructing a sundial; and two poems by Frederic Fairchild Sherman based on Daingerfield's paintings.
Also included are five sketchbooks and one watercolor sketch for the mural, "Epiphany"; a steel engraving by John Sartain; exhibition catalogues, 1919-1984, from Vose Galleries, Henry Reinhardt and Son, Milch Galleries, Macbeth Gallery, Grand Central Art Galleries, and others; clippings and other printed material about Daingerfield, his art, and his North Carolina house; and photographs of Daingerfield, his students, his friends, his North Carolina house, and his art.
REEL 4909 (fr. 983-1022) A photocopy of Part II of Daingerfield's autobiography "Part II, New York" (38 p.)
Biographical / Historical:
Landscape painter, painter, illustrator, writer; NYC. In 1880 Daingerfield moved to New York City, where he studied under George Inness, whose studio adjoined his. Author of books on Inness, Ryder and Blakelock.
Provenance:
Material on reel 3615 was lent for microfilming by Dr. Robert Coggins, 1985. The typescript on reel 4909, donated by Joseph D. Dulaney, Elliott Daingerfield's grandson, was discarded after microfilming in 1994.
Restrictions:
The Archives does not own the originals. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Authors -- New York (State) -- New York Search this
Landscape painters -- New York (State) -- New York Search this
