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Letter from John Quinn to Secretary of State of New York Edward Lazansky

Creator:
Quinn, John, 1870-1924  Search this
Subject:
Quinn, John  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Type:
Correspondence
Date:
1912 June 21
Record number:
(DSI-AAA)15392
See more items in:
Walt Kuhn, Kuhn family papers, and Armory Show records, 1859-1984, bulk 1900-1949
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_15392
Additional Online Media:

John Quinn ledgers, 1909-1924

Creator:
Quinn, John, 1870-1924  Search this
Subject:
Kuhn, Walt  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Pascin, Jules  Search this
Hartley, Marsden  Search this
Sheeler, Charles  Search this
Marin, John  Search this
Derain, André  Search this
Redon, Odilon  Search this
Prendergast, Maurice Brazil  Search this
Stieglitz, Alfred  Search this
Villon, Jacques  Search this
Cézanne, Paul  Search this
Vollard, Ambroise  Search this
Renoir, Auguste  Search this
Schamberg, Morton L.  Search this
Macdonald-Wright, Stanton  Search this
Duchamp-Villon, Raymond  Search this
Weber, Max  Search this
Severini, Gino  Search this
Epstein, Jacob  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
Penguin Club (New York, N.Y.)  Search this
Durand-Ruel Galleries (New York, N.Y.)  Search this
Macbeth Gallery  Search this
Photo-Secession Galleries (New York, N.Y.)  Search this
Tiffany Studios  Search this
Armory Show (1913 : New York, N.Y.)  Search this
Topic:
Art patrons  Search this
Art patronage  Search this
Art  Search this
Record number:
(DSI-AAA_CollID)7242
(DSI-AAA_SIRISBib)209391
AAA_collcode_quinjohl
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209391

John Quinn memorial collection in the New York Public Library, 1901-1925

Creator:
Quinn, John, 1870-1924  Search this
Subject:
Bellows, George  Search this
Stieglitz, Alfred  Search this
Pound, Ezra  Search this
Epstein, Jacob  Search this
Pach, Walter  Search this
Ray, Man  Search this
Kuhn, Walt  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Society of Independent Artists (New York, N.Y.)  Search this
Topic:
Art  Search this
Record number:
(DSI-AAA_CollID)9569
(DSI-AAA_SIRISBib)211770
AAA_collcode_quinjohn
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211770

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:
33 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Travel diaries
Sketches
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 33 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. An unprocessed addition of 2.1 linear feet with material dating from 1894-1984 is comprised of personal and professional correspondence, assorted printed material, photographic material of Kuhn and his artwork, and several artifacts including a make-up box, clown cloak, and three copper printing plates of Kuhn's paintings.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 33 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 by Kuhn, 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, NJ; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.

An unprocessed addition of 2.1 linear feet with material dating from 1894-1984 includes correspondence between Kuhn and others; photographs of Kuhn, his works of art and exhibition installations; printed material; and artifacts including a metal box containing make-up and colored pieces made of hair, the clown cloak pictured in Kuhn's painting "Sandy" and 3 copper printing plates of Kuhn's paintings.
Arrangement:
This collection has been arranged into 5 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 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, OV 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1978, undated (Box 3-26, 32-35, OV 39-55; 25.8 linear feet)

Series 5: Unprocessed Addition, 1894-1984 (Box 56-57, OV 58; 2.1 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 was an artist, teacher, advisor to art collectors, organizer, and 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. The addition in 2015 was donated by Terry DeLapp, Kuhn's dealer.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Walt Kuhn Family papers and Armory Show 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, Modern -- 20th century -- Exhibitions  Search this
Art schools -- Photographs  Search this
Works of art  Search this
Art -- Societies, etc. -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Watercolor painting, American  Search this
Artists' models -- Photographs  Search this
Etchers  Search this
Lithographers  Search this
New York school of art  Search this
Genre/Form:
Photographs
Travel diaries
Sketches
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984, bulk 1900-1949. 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:

Judith Zilczer papers

Creator:
Zilczer, Judith  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Whitney Museum of American Art  Search this
Benton, Thomas Hart, 1889-1975  Search this
Coady, Robert J., 1881-1921  Search this
Dasburg, Andrew, 1887-1979  Search this
Dawson, Manierre, 1887-1969  Search this
Hartley, Marsden, 1877-1943  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Linder, Richard  Search this
Munson, Gorham Bert, 1896-1969  Search this
Quinn, John, 1870-1924  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
0.4 Linear feet
Type:
Archival materials
Collection descriptions
Photographs
Date:
1910-1995
bulk 1973-1995
Summary:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.
Scope and Contents:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.
Arrangement:
The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)
Biographical / Historical:
Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.
Provenance:
Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Authors -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Topic:
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Art historians -- Washington (D.C.)  Search this
Synchromism (Art)  Search this
Genre/Form:
Photographs
Citation:
Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zilcjudt
See more items in:
Judith Zilczer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zilcjudt
Additional Online Media:

The John Quinn collection of African art and its photographic album by Charles Sheeler = La collection John Quinn d'art africain et son album photographique par Charles Sheeler / by Yaëlle Biro

Title:
Collection John Quinn d'art africain et son album photographique par Charles Sheeler
Author:
Biro, Yaëlle  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Quinn, John 1870-1924 Art collections  Search this
Sheeler, Charles 1883-1965  Search this
Type:
Articles
Place:
New York (State)
New York
Date:
2012
Topic:
Art, African--Collectors and collecting  Search this
Collecting African Art  Search this
Photography of African sculpture  Search this
Call number:
N5310.7 .W928
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1085511

The library of John Quinn ... To be sold by his order

Author:
Quinn, John 1870-1924  Search this
Physical description:
5 pt. in 1 v. front., ports., facsims. 24 cm
Type:
Catalogs
Bibliography
Place:
New York (State)
New York
Ireland
Date:
1923
1924
1923-24
Topic:
Private libraries  Search this
English literature  Search this
English literature--Irish authors  Search this
In literature  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_744419

Catalogue des tableaux modernes, aquarelles, gouaches, dessins par Paul Cézanne, André Derain, Raoul Dufy ... provenant de la collection John Quinn ... Hôtel Drouot ... 28 octobre 1926 ...

Title:
Tableaux modernes provenant de la collection John Quinn
Collection John Quinn
Author:
Hôtel Drouot  Search this
Subject:
Quinn, John 1870-1924 Art collections Catalogs  Search this
Physical description:
[82] p. : ill. ; 28 cm
Type:
Books
Place:
United States
Date:
1926
20th century
Topic:
Art, Modern--Private collections  Search this
Call number:
N5220 .Q85 1926
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_635246

Memorial exhibition of representative works selected from the John Quinn collection : January 7th to January 30th, 1926, Art Center... New York City

Title:
Paintings, water colors and sculpture selected from the John Quinn collection
Author:
Quinn, John 1870-1924  Search this
Art Center (New York, N.Y.)  Search this
Subject:
Quinn, John 1870-1924 Art collections  Search this
Physical description:
12 p. : ill., port. ; 24 cm
Type:
Books
Date:
1926
1926]
20th century
Topic:
Art, Modern--Private collections  Search this
Call number:
N5220 .Q5 1926
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_637005

John Quinn, 1870-1925, collection of paintings, water colors, drawings & sculpture

Author:
Quinn, John 1870-1924  Search this
Watson, Forbes 1880-1960  Search this
Physical description:
[1]-200 p. incl. plates. front. (port.) 29 cm
Type:
Books
Date:
1926
[c1926]
Topic:
Painting--Private collections  Search this
Sculpture--Private collections  Search this
Call number:
N5220.Q75 A1
N5220.Q75 A1
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_645407

"The noble buyer" : John Quinn, patron of the avant-garde / Judith Zilczer

Author:
Zilczer, Judith  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Subject:
Quinn, John 1870-1924 Art collections Exhibitions  Search this
Physical description:
198 p. : ill. (some col.) ; 31 cm
Type:
Exhibitions
Date:
1978
20th century
Topic:
Art, Modern  Search this
Avant-garde (Aesthetics)  Search this
Art, French  Search this
Call number:
N6487.W3 H579X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_105575

Gwen John, paintings and drawings from the collection of John Quinn & others : Stanford University Museum of Art, Stanford California, 27 April until 27 June 1982 / by Betsy G. Fryberger, with an essay by Cecily Langdale

Author:
Fryberger, Betsy Geraghty  Search this
John, Gwen 1876-1939  Search this
Stanford University Museum of Art  Search this
Subject:
John, Gwen 1876-1939  Search this
Quinn, John 1870-1924 Art collections  Search this
Physical description:
64 p. : ill. ; 24 cm
Type:
Exhibitions
Date:
1982
Topic:
Art--Private collections  Search this
Call number:
N40.1.J65 F9
N40.1.J65 F9
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_187754

The man from New York; John Quinn and his friends [by] B.L. Reid

Author:
Reid, B. L (Benjamin Lawrence) 1918-  Search this
Subject:
Quinn, John 1870-1924  Search this
Physical description:
xviii, 708 p. illus., ports. 24 cm
Type:
Books
Date:
1968
Call number:
N5220.Q75 R3
N5220.Q75R3
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_16946

Paintings and sculptures: the renowned collection of modern and ultra-modern art formed by the late John Quinn. Sold by order of National Bank of Commerce in New York & Maurice Léon

Author:
American Art Association  Search this
Subject:
Quinn, John 1870-1924 Art collections  Search this
Physical description:
269, [19] p. illus., port. 28 cm
Type:
Exhibitions
Date:
1927
20th century
Topic:
Art, Modern  Search this
Call number:
N5220.Q75 A5
N5220.Q75 A5
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_48956

John Quinn: an exhibition to mark the gift of the John Quinn Memorial Collection

Author:
Simmonds, Harvey  Search this
Quinn, John 1870-1924  Search this
Subject:
John Quinn Memorial Collection  Search this
Physical description:
22 p. illus., ports. 26 cm
Type:
Books
Date:
1968
Call number:
Z6621 .N567
Z6621.N567
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_58007

"The noble buyer" : John Quinn, patron of the avant-garde : June 15-September 4, 1978 : Hirshhorn Museum and Sculpture Garden, Smithsonian Institution : press coverage / [compiled by the Public Information Office of the Hirshhorn Museum and Sculpture Garden]

Author:
Hirshhorn Museum and Sculpture Garden Public Information Office  Search this
Subject:
Quinn, John 1870-1924  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Physical description:
1v. (unpaged) : ill. ; 28 cm
Type:
Exhibitions
Date:
1978
20th century
Topic:
Art, Modern  Search this
Avant-garde (Aesthetics)  Search this
Call number:
N6487.W3 H572 1978
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_961119

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