Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Biographical material, letters, notes and writings, a monograph design, printed material, a scrapbook, and photographs.
REEL 2813: Eighteen letters to Haberle regarding the exhibition and sale of his work, 1891-1901; and a letter from J. William Middendorf to Haberle's son-in-law, Victor Demmer, concerning a Haberle exhibition at the Whitney Museum of Art, 1966.
UNMICROFILMED: Biographical material; an autobiographical account, 1925; letters to Haberle from colleagues discussing his work, 1870-1915; letters from Haberle to his wife Sarah "Sadie" Haberle, 1893-1898, and his daughter Vera, 1898; and letters to Vera and Victor Demmer and Gladys Haberle Fresnada concerning Haberle's work, 1960-1971, from Alfred Frankenstein and others; notes and writings including poems, 1925, musical annotations, a card file on writing, 8 pages from a travel journal, 1931, and "directions for finishing the painting donated to New Britain."
Also included are a monogram design, 1903; photographs of Haberle, members of his family, 1894, works of art, 1888, views of 2 houses, 1960, and artists in their studios including Georges Clairin, Benjamin Constant, Jean Léon Gérome, Mihaly Munkacsy, and Georges Rochegrosse; clippings, 1887-1970; a scrapbook containing greeting cards and stickers; and printed material, 1874-1932.
John Haberle papers, 1882-1985, (bulk 1882-1931). Archives of American Art, Smithsonian Institution.
Microfilm reels 2813 and 3753 available at Archives of American Art offices and through interlibrary loan.
Location of Originals:
Reel 2813: Originals returned to the lender, Mrs. Vera Haberle Demmer, after microfilming.
Reel 3753: Originals returned to the lenders, James and Claudia Mize, after microfilming.
Still-life painter, art instructor; New Haven, Conn. Haberle was apprenticed to a lithography and engraving company during the 1870s, studied at the National Academy of Design between 1884 and 1885 and later founded the New Haven Sketch Club, where he also taught. He specialized in trompe l'oeil still-life paintings, producing most of this work between 1887 and 1900. Deteriorating eyesight caused him to paint broader, more traditional still-lifes and landscapes in later life.
Material on reel 2813 was donated 1969 by Mrs. Vera Haberle Demmer, the daughter of John Haberle. Material on reel 3753 lent, and unmicrofilmed material donated 1986 by James and Claudia Mize, descendants of Haberle.
Archives of American Art, Smithsonian Institution, 750 9th St. NW, Washington, D.C. 20001