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Paul Jenkins papers, circa 1915-2010

Creator:
Jenkins, Paul, 1923-2012  Search this
Subject:
De Kooning, Willem  Search this
Jenkins, Esther Ebenhoe  Search this
Bluhm, Norman  Search this
Krasner, Lee  Search this
Baber, Alice  Search this
Erma, Thomas  Search this
Prantl, Karl  Search this
Dusanne, Zoe  Search this
Prince, Frank  Search this
Guggenheim, Peggy  Search this
Gilot, Francoise  Search this
Art Students League (New York, N.Y.)  Search this
New York University  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Martha Jackson Gallery  Search this
Type:
Travel diaries
Manuscripts
Sketches
Watercolors
Prints
Collages
Visitors' books
Photographs
Scrapbooks
Place:
China -- description and travel
Citation:
Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.
Topic:
Abstract expressionism  Search this
Artists' studios -- Photographs  Search this
Medals -- Design  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)13668
(DSI-AAA_SIRISBib)274646
AAA_collcode_jenkpaul2
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_274646
Online Media:

Paul Jenkins papers

Creator:
Jenkins, Paul, 1923-2012  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Martha Jackson Gallery  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New York University  Search this
Baber, Alice  Search this
Bluhm, Norman, 1921-1999  Search this
De Kooning, Willem, 1904-1997  Search this
Dusanne, Zoe, -1977  Search this
Erma, Thomas, 1939-1964  Search this
Gilot, Francoise, 1921-  Search this
Guggenheim, Peggy, 1898-1979  Search this
Jenkins, Esther Ebenhoe  Search this
Krasner, Lee, 1908-1984  Search this
Prantl, Karl  Search this
Prince, Frank  Search this
Extent:
11.1 Linear feet
Type:
Collection descriptions
Archival materials
Travel diaries
Manuscripts
Sketches
Watercolors
Prints
Collages
Visitors' books
Photographs
Scrapbooks
Place:
China -- Description and Travel
Date:
circa 1915-2010
Summary:
The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.
Scope and Contents:
The papers of abstract expressionist painter and playwright Paul Jenkins measure 11.1 linear feet and date from circa 1915 to 2010. Jenkins's career in New York and Paris is documented through biographical material, family papers, correspondence, writings, personal business records, printed material, photographs of Jenkins in his studio and at various events, and original artwork by Jenkins and others.

Biographical material and family papers consist of awards and certificates, calendars, marriage, divorce, and estate papers, and military service records. Also included are family papers and a scrapbook belonging to Jenkins's aunt, Louise Jenkins.

Correspondence, which makes up the bulk of the collection, is with family, friends, and fellow artists, including Alice Baber, Norman Bluhm, Willem de Kooning, and Lee Krasner Pollock, as well as art organizations, schools, museums, galleries, and gallery owners, such as the Art Students League of New York, New York University, Museum of Modern Art, Martha Jackson Gallery, Zoe Dusanne, and Peggy Guggenheim.

Writings includes scattered writings by Paul Jenkins, two of his travel diaries, and the guest book for an exhibition in Tokyo. Also found are a copy of Lili Krahmer Verame's China travel diary and the writings and research materials of others.

Personal business records consist of financial records, lease documents, price lists, travel documents, and papers regarding Jenkins's rental property. Also included are a file on the New York University medal designed by Jenkins and a file concerning a Karl Prantl statue.

Printed material consists of event programs, newsletters, bulletins, member reports, press releases, art exhibition announcements and catalogs, concert and theater announcements and programs, news and magazine clippings, and obituaries and memorial announcements.

Artwork contains miscellaneous sketches and collages by Paul Jenkins. Additional artworks include sketches, watercolors, and prints by other artists, as well as 8 oversize mixed media sketches by Frank Prince of Jenkins's Meditation Mandala Sundial sculptures.

Photographs of Paul Jenkins depict him in his studio, with family and friends, and at events. Photographs of family and friends include Esther Ebenhoe Jenkins, Alice Baber Jenkins, Norman Bluhm, Thomas Erma, Françoise Gilot, Matsumi "Mike," Carole, and Bunshi Paul Kanemitsu, and Frank Prince.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1915-1997 (Box 1; 9 folders)

Series 2: Correspondence, circa 1930-2010 (Box 1-9, 13; 9 linear feet)

Series 3: Writings, circa 1950-2003 (Box 9-10; 0.5 linear feet)

Series 4: Personal Business Records, circa 1944-1990 (Box 10; 0.3 linear feet)

Series 5: Printed Material, circa 1952-2010 (Box 10-11; 0.6 linear feet)

Aeries 6: Artwork, circa 1935-2007 (Box 11-12, OV 14; 0.2 linear feet)

Series 7: Photography, circa 1940-1998 (Box 12; 0.4 linear feet)
Biographical / Historical:
Paul Jenkins (1923-2012) was an abstract expressionist painter and playwright in New York, New York, and Paris, France. Jenkins was born in Kansas City, Missouri in 1923, and moved to Youngstown, Ohio as a teenager. After serving in the U.S. Maritime Service and the U.S. Naval Air Corps, Jenkins studied playwriting with George McCalmon at the Carnegie Institute of Technology (now Carnegie Mellon University). In 1948, he moved to New York City, where he studied with Yasuo Kuniyoshi at the Art Students League of New York.

Over the course of his career, Jenkins experimented with multiple techniques, including oil on primed canvas, flowing paints, acrylics, watercolor, and mixed media collages. After traveling extensively and meeting many artists, Jenkins ultimately became associated with the Abstract Expressionists. His work gained the attention of other members of the art world and he held solo exhibitions at venues such as the Zoe Dusanne Gallery in Seattle and the Martha Jackson Gallery in New York. Jenkins' paintings were purchased by both museums and private collectors, including the Museum of Modern Art, the Whitney Museum of American Art, and Peggy Guggenheim.

In addition to his painting, Jenkins continued to explore other creative endeavors. He experimented with sculpture, producing works for events and permanent displays, including the Sculptors' Symposium at the Cooper-Hewitt Museum and the Sculpture Garden of the Hofstra Museum. His plays, such as Strike the Puma, were published and performed off Broadway in New York City. Jenkins's art served as the backdrop for multiple stage productions, and in 1978, his paintings were featured in the Academy Award nominated movie An Unmarried Woman. Jenkins also collaborated on a number of book projects, including Anatomy of a Cloud, a collection of autobiographical collages and texts.

Throughout his adult life, Jenkins split most of his time between New York and Paris. He continued to create and exhibit new works until his death in New York in 2012.
Related Materials:
Also found at the Archives of American Art are an interview of Paul Jenkins, August 1969, conducted by Albert Elsen, and an oral history interview, 1968, conducted by Colette Roberts.
Provenance:
The papers were donated 2007-2009 and in 2012 by Paul and Suzanne Jenkins.
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.
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.
The donor has retained all intellectual property rights, including copyright, that they may own.
Occupation:
Dramatists -- France -- Paris  Search this
Dramatists -- New York (State) -- New York  Search this
Topic:
Abstract expressionism  Search this
Artists' studios -- Photographs  Search this
Medals -- Design  Search this
Painters -- France -- Paris  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Travel diaries
Manuscripts
Sketches
Watercolors
Prints
Collages
Visitors' books
Photographs
Scrapbooks
Citation:
Paul Jenkins papers, circa 1915-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jenkpaul2
See more items in:
Paul Jenkins papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97a17d1c1-3b35-4e96-b562-6daf3559775e
EDAN-URL:
ead_collection:sova-aaa-jenkpaul2
Online Media:

Factories (Byproduct Plant)

Artist:
Joseph Stella, American, b. Muro Lucano, Italy, 1877–1946  Search this
Medium:
Pastel, charcoal, and metallic paint on paper mounted on paperboard
Dimensions:
22 7/8 x 29 in. (58.1 x 73.7 cm) on artist's mount: 24 15/16 x 30 1/8 in. (63.3 x 76.4 cm) [irreg.]
Type:
Drawing
Date:
1918-1920
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.4776
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2852063ae-2248-4fba-afca-566aab59542e
EDAN-URL:
edanmdm:hmsg_66.4776

Field for Skyes

Artist:
Joan Mitchell, American, b. Chicago, Illinois, 1925–1992  Search this
Medium:
Oil on canvas
Dimensions:
110 1/4 × 204 3/4 in. (280 × 520.1 cm)
Type:
Painting
Date:
1973
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Mr. and Mrs. David T. Workman, 1975
Accession Number:
75.20
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Abstract Expressionism (Second Generation)
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2b742002a-9a46-4d25-aff1-979a50e54daa
EDAN-URL:
edanmdm:hmsg_75.20

Abstraction: Mardi Gras

Artist:
Joseph Stella, American, b. Muro Lucano, Italy, 1877–1946  Search this
Medium:
Watercolor, opaque paint, metallic paint, and pencil on paper mounted on colored paper
Dimensions:
SHEET: 11 1/8 x 13 13/16 in. (28.2 x 35.0 cm) IMAGE: 8 1/4 x 11 1/16 in. (21.0 x 28.1 cm)
Type:
Painting
Date:
1914-1916
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981
Accession Number:
86.4472
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py28e778794-901b-44a1-9f97-de5f62153e84
EDAN-URL:
edanmdm:hmsg_86.4472

Allan Randall Freelon papers, 1830-2018

Creator:
Freelon, Allan Randall, 1895-1960  Search this
Type:
Scrapbooks
Diaries
Drawings
Citation:
Allan Randall Freelon papers, 1830-2018. Archives of American Art, Smithsonian Institution.
Topic:
African American artists  Search this
African American painters  Search this
African American educators  Search this
Impressionism (Art)  Search this
Theme:
African American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)21719
(DSI-AAA_SIRISBib)398577
AAA_collcode_freealla
Theme:
African American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_398577

Correspondence

Collection Creator:
Guild Art Gallery  Search this
Extent:
10 Folders (Box 1)
Type:
Archival materials
Date:
1935-1937
Scope and Contents:
Correspondence is with business associates, prospective clients, museums, and other art institutions and organizations including Alfred H. Barr, Alfred C. Barnes, Cincinnati Art Museum, Corcoran Gallery of Art, Julianna Force, Museum of Modern Art, the Whitney Museum of American Art, and others. Artists represented in the correspondence include Saul Baizerman, Emlen Etting, Arshile Gorky, Chaim Gross, Jean Liberte, William Littlefield, Gwen Lux, Philip Reisman, Theodore Roszak, Raphael Soyer, Gilbert Wilson, and others.

Of note are three folders of correspondence with artist Lloyd Ney. In addition to writing of his work and arrangements with the gallery to show his paintings, Ney writes of a disagreement with dealer Bruce Lockwood over ownership of his paintings. Related correspondence with Lockwood and lawyer Arthur Eastburn is also included here.

Also of note are two folders of letters and related material documenting the gallery's efforts to promote the work of Sigmund Menkes, in particular his painting The Torah. Records include a signed agreement with the gallery to be sole agents for The Torah, name and address lists of prospective clients, outgoing letters sent to them and some responses, two letters from Menkes, biographical notes about Menkes and the history of the painting, and marked up exhibition catalogs with prices of Menkes's work.
Arrangement:
Undated correspondence is arranged alphabetically by correspondent and dated correspondence is arranged chronologically. Correspondence with Sigmund Menkes and Lloyd Ney is arranged separately in named files.
Collection 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.
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:
Guild Art Gallery records, circa 1933-1937. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.guilart, Series 1
See more items in:
Guild Art Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91fb84ab4-ed2d-460a-8abf-8215df2f772d
EDAN-URL:
ead_component:sova-aaa-guilart-ref6

Whitney Museum of American Art

Collection Creator:
Wosk, Miriam, 1947-2010  Search this
Container:
Box 2, Folder 51
Type:
Archival materials
Date:
1986-2004
Collection 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 born-digital records in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.

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:
Miriam Wosk papers, 1961-2013. Archives of American Art, Smithsonian Institution.
See more items in:
Miriam Wosk papers
Miriam Wosk papers / Series 2: Correspondence / 2.2: Professional Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99c7e1f44-f719-40a4-a49a-a5e12716963a
EDAN-URL:
ead_component:sova-aaa-woskmiri-ref129

Allan Randall Freelon papers

Creator:
Freelon, Allan Randall, 1895-1960  Search this
Extent:
4.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Diaries
Drawings
Date:
1830-2018
Summary:
The papers of African American painter and educator Allan Randall Freelon, who was based in Pennsylvania, measure 4.4 linear feet and date from 1830 to 2018. The collection contains biographical material, including appointment books and family history material; correspondence; writings; material related to professional activities, including exhibitions and school visits; personal business records, including estate records; printed material; scrapbooks; photographic material; and artwork and artifacts.
Scope and Contents:
The papers of African American painter and educator Allan Randall Freelon, who was based in Pennsylvania, measure 4.4 linear feet and date from 1830 to 2018. The collection contains biographical material, including appointment books and family history material; correspondence; writings; material related to professional activities, including exhibitions and school visits; personal business records, including estate records; printed material; scrapbooks; photographic material; and artwork and artifacts.

Biographical material include address lists, certificates, appointment books, and family history material.

Correspondence includes a mixture of personal and professional correspondence with families, friends, galleries, museusm, and and Philadelphia area schools.

Writings consist of Freelon's MFA thesis, notes and notecards. There is also a fair amount of writings by others, such as essays, poems, reports, and even a travel diary from 1879-1880 by someone with the initials "I. J. G."

Materials related to professional activities include exhibition, project, and committee files. There are also assorted materials related to Freelon's work as the Art Director for Philadelphia public schools.

Also included are personal business records, which contain estate records (which includes a audiovisual recording), auction records, condition reports, inventories, property records, and sale records.

Printed material consists of clippings, magazines, newsletters, and exhibition catalogs and announcements.

There are three scrapbooks, which primarily contains a mixture of photographic material, correspondence, and printed material.

Photographic materials include slides, photographs, and negatives of Freelon, his paintings, studio, friends and family, and various other location.

Artwork and artifacts include sketchbooks, sketches, and one souvenir spoon from the Sesqui-Centennial Exposition of 1926.
Arrangement:
This collection is arranged as nine series.

Series 1: Biographical Material, 1919, circa 1938-2001 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1878-2010 (Box 1; 0.3 linear feet)

Series 3: Writings, 1879-1880, 1922-1959 (Box 1; 0.2 linear feet)

Series 4: Professional Activities, circa 1935-1957, 2000-2005 (Box 1; 0.2 linear feet)

Series 5: Personal Business Records, 1856-1957, 1995-2018 (Boxes 1-2, OV 6; 0.3 linear feet)

Series 6: Printed Material, 1849-2015 (Box 2, Box 4; 0.5 linear feet)

Series 7: Scrapbooks, 1923-1960 (Box 2, Boxes 4-5; 0.7 linear feet)

Series 8: Photographic Material, circa 1880-circa 2006 (Boxes 2-3, Box 5, OV 6, MGP 6, Box 7; 1.6 linear feet)

Series 9: Artwork and Artifacts, circa 1912-circa 1960 (Box 3; 0.2 linear feet)
Biographical / Historical:
Allan Randall Freelon Sr. (1895-1960) was painter and educator in Philadelphia, Pennsylvania known for his impressionist paintings.

Freelon studied at the Pennsylvania Museum and School of Industrial Art (now the University of the Arts), the University of Pennsylvania, and the Tyler School of Art of Temple University. He also spent summers studying painting with Hugh Breckenridge in Gloucester, Massachusetts.

His work was included in exhibitions at the Schomburg Center for Research in Black Culture, traveling exhibitions with the William E. Harmon Foundation, the Albright-Knox Gallery, the National Gallery of Art, the Howard University Gallery of Art, and the Whitney Museum of American Art. He was also one of seven Black artists included in the exhibition Art Commentary on Lynching, organized by the NAACP.

Freelon married Marie Cuyjet in 1918 and they had one son Allan Randall Freelon Jr. Freelon and Cuyjet eventually divorced and Freelon married Mary Kouzmanoff.

Freelon taught art in the Philadelphia public school system and in 1921 was appointed as assistant director of art education. In 1939 he was named the special assistant to the director of art in the Philadelphia public schools. Freelon also taught painting at Windy Crest, his studio in Telford, Pennsylvania, where he passed away in 1960.
Provenance:
The Allan Randall Freelon papers were donated to the Archives of American Art in 2019 by Nnenna and Maya Freelon as part of the Archives' African American Collecting Initiative funded by the Henry Luce Foundation. Nnenna is the widow of Phil Freelon, Allan Randall Freelon's grandson. Maya Freelon is Nnenna and Phil's daughter.
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.

Access to nitrate negatives is restricted. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. 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:
Painters -- Pennsylvania -- Philadelphia  Search this
Educators -- Pennsylvania -- Philadelphia  Search this
Topic:
African American artists  Search this
African American painters  Search this
African American educators  Search this
Impressionism (Art)  Search this
Genre/Form:
Scrapbooks
Diaries
Drawings
Citation:
Allan Randall Freelon papers, 1830-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.freealla
See more items in:
Allan Randall Freelon papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97f25a9d8-30fc-4ede-a04a-ff439b2e418d
EDAN-URL:
ead_collection:sova-aaa-freealla
Online Media:

Doll & Richards gallery records

Creator:
Doll & Richards (Gallery)  Search this
Names:
Azeez Khayat Gallery  Search this
Kleemann Galleries  Search this
Macbeth Gallery  Search this
Museum of Fine Arts, Boston  Search this
Chetcuti, John  Search this
Freiman, Robert  Search this
Goodrich, Lloyd, 1897-1987  Search this
Haseltine, William Stanley, 1835-1900  Search this
Homer, Winslow, 1836-1910  Search this
Lindenmuth, Tod  Search this
Meyerowitz, William, 1887-1981  Search this
Shepler, Dwight, 1905-  Search this
Verner, Elizabeth O'Neill, 1883-1979  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Wyeth, Andrew, 1917-2009  Search this
Zoehler, Wendell H., 1907-1989  Search this
Extent:
87.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Financial records
Date:
1863-1978
bulk 1902-1969
Summary:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.
Scope and Content Note:
The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.

Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.

Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .

Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.

Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.

The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.

The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.
Arrangement:
The collection is arranged as nine series:

Missing Title

Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)

Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)

Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)

Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)

Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)

Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)

Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)

Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)

Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)

The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.
Historical Note:
The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.

In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.

Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.

The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.

Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.
Related Material:
Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.
Separated Material:
A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.
Provenance:
The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.
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:
Art, American  Search this
Function:
Art galleries, Commercial -- Massachusetts
Genre/Form:
Photographs
Scrapbooks
Financial records
Citation:
Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dollrich
See more items in:
Doll & Richards gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b774b9ae-a4eb-4849-9652-6be121c5142f
EDAN-URL:
ead_collection:sova-aaa-dollrich

Box #41, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Mixed media
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 77.81
Date:
1965
Topic:
Abstract  Search this
Control number:
IAS 60010049
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_298170

Box #42, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Mixed media
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 74.97
Date:
1965
Topic:
Abstract  Search this
Control number:
IAS 60010050
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_298171

Dinner #15, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Mixed media
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 74.98
Date:
1965
Topic:
Recreation--Leisure--Eating & Drinking  Search this
Control number:
IAS 60010051
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_298172

Transformation: Scissors, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Mixed media on aluminum and fiberglass
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 80.18
Date:
1968
Topic:
Object--Tool--Scissors  Search this
Control number:
IAS 60010052
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_298173

Chair Transformation Number 3, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Acrylic on wood
Type:
Sculptures
Date:
1969-70
Topic:
Abstract  Search this
Object--Furniture--Chair  Search this
Control number:
IAS 60010053
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_298174

Untitled Box Number 3, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Pins, rope, stuffed bird and wood
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 66.36
Date:
1963
Topic:
Abstract  Search this
Control number:
IAS 76003991
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_9775

Untitled Box Number 33, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Paint, plaster, wood and wool
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 66.37
Date:
1965
Topic:
Undetermined  Search this
Control number:
IAS 76003992
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_9776

Book, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Assemblage and serigraph
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 69.96
Date:
1968
Topic:
Object--Written Matter--Book  Search this
Control number:
IAS 76003993
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_9777

Chair Transformation Number 6, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Brass, string, wire and wood
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 70.1570
Date:
1969-70
Topic:
Undetermined  Search this
Control number:
IAS 76003994
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_9778

Chair Transformation Number 8, (sculpture)

Sculptor:
Samaras, Lucas 1936-2024  Search this
Medium:
Cloth, plaster, tin foil and wire
Type:
Sculptures
Owner/Location:
Whitney Museum of American Art 945 Madison Avenue New York New York 10021 Accession Number: 70.1571
Date:
1969-70
Topic:
Undetermined  Search this
Control number:
IAS 76003995
Data Source:
Art Inventories Catalog, Smithsonian American Art Museums
EDAN-URL:
edanmdm:siris_ari_9779

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