Skip to main content Smithsonian Institution

Search Results

Collections Search Center
67 documents - page 1 of 4

Otis Oldfield letters and photograph, 1913, 1925-1926

Creator:
Oldfield, Otis, 1890-1969  Search this
Subject:
San Francisco Museum of Art  Search this
Type:
Photographs
Topic:
Art  Search this
Art teachers  Search this
Painters  Search this
Painting, Modern  Search this
Record number:
(DSI-AAA_CollID)10387
(DSI-AAA_SIRISBib)213747
AAA_collcode_oldfotis
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213747

Oral history interview with Otis Oldfield, 1965 May 21

Interviewee:
Oldfield, Otis, 1890-1969  Search this
Interviewer:
Ferbrache, Lewis  Search this
Type:
Sound recordings
Interviews
Topic:
Painters  Search this
Record number:
(DSI-AAA_CollID)13601
(DSI-AAA_SIRISBib)270803
AAA_collcode_oldfie65
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_270803

Walt Kuhn Family papers and Armory Show records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Additional Online Media:

Otis Oldfield papers, 1910-1975

Creator:
Oldfield, Otis, 1890-1969  Search this
Subject:
Chittenden, Alice Brown  Search this
Taylor, Mildred  Search this
Groninger, Homer  Search this
Oldfield, Helen  Search this
Labaudt, Lucien Adolphe  Search this
Stackpole, Ralph  Search this
Roche, Marcel  Search this
Ryan, Beatrice Judd  Search this
Dixon, Maynard  Search this
Cuneo, Rinaldo  Search this
Gee, Yun  Search this
Topic:
Painters  Search this
Art teachers  Search this
Art  Search this
Painting, Modern  Search this
Record number:
(DSI-AAA_CollID)9230
(DSI-AAA_SIRISBib)211425
AAA_collcode_oldfotip
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211425

Antonio Sotomayor papers

Creator:
Sotomayor, Antonio, 1904-  Search this
Names:
Delphic Studios  Search this
Pan American Union  Search this
Entenza, John, 1903-  Search this
Farr, Fred, 1914-1973  Search this
Franco, Johan, 1908-  Search this
Fried, Alexander, 1902-1988  Search this
Gerstle, William Lewis, 1868-1947  Search this
Labaudt, Lucien, 1880-1943  Search this
Little, Philip, 1857-1942  Search this
Long, Emilie  Search this
Morley, Grace, 1900-1985  Search this
Moya del Pino, Jose, 1891-1969  Search this
Oldfield, Otis, 1890-1969  Search this
Orozco, José Clemente, 1883-1949  Search this
Pflueger, Timothy Ludwig, 1892-1946  Search this
Reed, Alma M.  Search this
Rivera, Diego, 1886-1957  Search this
Robinson, Elmer E. (Elmer Edwin), b. 1894  Search this
Salinger, Jehanne Bietry  Search this
Salinger, Pierre  Search this
Sauer, Carl Ortwin, 1889-  Search this
Sotomayor, Grace  Search this
Von Hagen, Victor Wolfgang, 1908-1985  Search this
Extent:
1.6 Linear feet
Type:
Archival materials
Collection descriptions
Sketchbooks
Sketches
Photographs
Date:
circa 1920-1988
Summary:
The collection documents the career of painter and illustrator, Antonio Sotomayor, his interest in Latin American art and artists, and his association with the San Francisco arts community. Materials found in the collection include letters, writings, sketches and sketchbooks, printed material and photographs.
Scope and Content Note:
The collection consists primarily of correspondence, writings, artwork, printed material, and photographs documenting Sotomayor's career, his interest in Latin American art and artists, and his association with the San Francisco arts community.
Arrangement:
The collection is arranged as six series:

Series 1: Correspondence, 1931-1988, undated (box 1, 21 folders)

Series 2: Writings, 1932-1946, undated (box 1, 11 folders)

Series 3: Artwork, 1935, undated (box 1, 23 folders)

Series 4: Printed Material, 1935-1987 (boxes 1-2, 12 folders)

Series 5: Photographs, circa 1920-1984, undated (box 2, 13 folders)

Series 6: Oversized Material, 1941, 1958, undated (2 OV folders)
Biographical Note:
Antonio Sotomayor was born in Bolvia and came to San Francisco in 1923. He was educated at the Escuela de Belleas Arts in La Paz and the Hopkins Institute of Art in San Francisco. Primarily known for his murals and paintings, Sotomayor was also an illustrator, caricaturist, designer, ceramicist, and educator. Over the course of his career his work was exhibited in the United States, France, Italy, Spain, Mexico, and South America and he became known as the popular "artist laureate" of San Francisco where he lived with his wife, Grace. He died of cancer in 1985 at the age of 82.
Provenance:
The Antonio Sotomayor papers were donated to the Archives of American Art by Grace Sotomayor in 1998.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
The Antonio Sotomayor 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:
Muralists -- California -- San Francisco  Search this
Works of art  Search this
Painters -- California -- San Francisco  Search this
Caricatures and cartoons  Search this
Mural painting and decoration -- 20th century  Search this
Illustration  Search this
Illustrators -- California -- San Francisco  Search this
Art, Modern -- 20th century -- California -- San Francisco  Search this
Hispanic American artists  Search this
Cartoonists -- California -- San Francisco  Search this
Genre/Form:
Sketchbooks
Sketches
Photographs
Citation:
Antonio Sotomayor papers, circa 1920-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sotoanto
See more items in:
Antonio Sotomayor papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sotoanto

Otis Oldfield centennial, 1890-1990

Title:
Otis Oldfield centennial exhibition, 1890-1969
Author:
Oldfield, Otis 1890-1969  Search this
Jan Holloway Gallery  Search this
Subject:
Oldfield, Otis 1890-1969  Search this
Physical description:
104 p. : ill. ; 29 cm
Type:
Books
Exhibitions
Date:
1990
C1990
Call number:
N40.1.O443 J36 1990
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_679546

Nature Morte aux Tomates, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Crocker Art Museum 216 O Street Sacramento California 95814 Accession Number: 2009.45
Date:
1921
Topic:
Still Life--Vegetable--Tomato  Search this
Still Life--Vegetable--Eggplant  Search this
Still Life--Foodstuff--Wine  Search this
Control number:
IAP 03830335
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_444887

White Dress (White Nightie), (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Subject:
Oldfield, Helen Clark  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Crocker Art Museum 216 O Street Sacramento California 95814 Accession Number: 2010.2.5
Date:
1936
Topic:
Portrait female--Knee length  Search this
Architecture interior  Search this
Control number:
IAP 03830337
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_444911

Self-Portrait in the Artist's Telegraph Hill Studio, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Subject:
Oldfield, Otis  Search this
Medium:
Oil on canvas
Type:
Paintings
Owner/Location:
Crocker Art Museum 216 O Street Sacramento California 95814
Date:
1929
Topic:
Portrait male--Self Portrait  Search this
Portrait male--Bust  Search this
Occupation--Art--Painter  Search this
Architecture interior--Studio  Search this
Object--Written Matter--Book  Search this
Control number:
IAP 03830338
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_444912

Paris Courtyard, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on panel
Type:
Paintings
Date:
1919
Topic:
Cityscape--France--Paris  Search this
Architecture--Other--Courtyard  Search this
Architecture exterior--Studio  Search this
Control number:
IAP 8F040001
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461702

Town Hall, Pontacq, Pyrenees Series, France, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1924
Topic:
Landscape--France--Pontacq  Search this
Architecture exterior--Civic--Town Hall  Search this
Control number:
IAP 8F040002
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461703

Freestone Gas Station, Sebastopol Road, Sonoma, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1927
Topic:
Landscape--California--Sonoma  Search this
Architecture exterior--Commercial--Gas Station  Search this
Control number:
IAP 8F040003
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461704

Pier 29, Window View of Bay, San Francisco, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1932
Topic:
Cityscape--California--San Francisco  Search this
Cityscape--Wharf  Search this
Waterscape--Bay--San Francisco Bay  Search this
Waterscape--Harbor  Search this
Architecture exterior  Search this
Architecture--Boat--Freighter  Search this
Architecture--Boat--Steamer  Search this
Control number:
IAP 8F040004
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461705

Bolinas Woods, Marin, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on Del Monte packing case lid
Type:
Paintings
Date:
1937
Topic:
Landscape--California--Marin  Search this
Landscape--Forest  Search this
Control number:
IAP 8F040005
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461706

Gold Run Diggings, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1939
Topic:
Landscape--California--Gold Run  Search this
Occupation--Industry--Mining  Search this
Control number:
IAP 8F040006
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461707

Guadalupe, Russian Hill Church, San Francisco, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1939
Topic:
Cityscape--California--San Francisco  Search this
Architecture exterior--Religious--Church  Search this
Control number:
IAP 8F040007
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461708

Bartlett House, Gold Run, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on board
Type:
Paintings
Date:
1948
Topic:
Landscape--California--Gold Run  Search this
Architecture exterior--Domestic--House  Search this
Control number:
IAP 8F040008
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461709

Miner's Shack, Gold Run, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on board
Type:
Paintings
Date:
1948
Topic:
Landscape--California--Gold Run  Search this
Architecture exterior--Domestic--Hut  Search this
Control number:
IAP 8F040009
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461710

Main Street, Gold Run, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1950
Topic:
Landscape--California--Gold Run  Search this
Landscape--Road  Search this
Architecture exterior--Domestic--House  Search this
Control number:
IAP 8F040010
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461711

The Hill, Telegraph Hill from Russian Hill Park, (painting)

Painter:
Oldfield, Otis 1890-1969  Search this
Medium:
Oil on canvas
Type:
Paintings
Date:
1953
Topic:
Cityscape--California--San Francisco  Search this
Architecture exterior  Search this
Control number:
IAP 8F040011
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_461712

Modify Your Search






or


Narrow By