The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. the papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.
Scope and Contents:
The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. The papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.
Biographical materials consist of passports, an identification card, and a Who's Who entry. Correspondence is scattered and contains letters written by A.G. Warshawsky to his wife Ruth. There are also telegrams of congratulations for the Warshawskys' 1941 marriage and a few letters from museums and institutions regarding Warshawsky's art.
Writings and notes include three versions of Warshawsky's autobiography entitled: "My Brush with Life," "Adventures with Color and Brush," and "Warshawsky's Autobiography." The autobiography concerns his life in Paris, activities, and acquaintances as a young art student in Paris. Also found are other writings about art and a notebook.
Printed material includes exhibition catalogs, xeroxed copies of news clippings and a clippings file concerning Warshawsky's career, published material, and reproductions of works of art. Also found is a printed portfolio comprised of an introduction to Warshawsky and reproductions of his paintings.
There is one original and one xeroxed scrapbook, containing news clippings, and exhibition materials from 1913 to 1960.
Photographs includes eight photo albums and photographs of Warshawsky, of family and friends, and of works of art. The bulk of the photo albums contain photographs of works of art. Two photo albums consist of personal photos of Warshawsky and his wife Ruth in their home in California. Other photographs are of Warshawsky painting in his studio, with his art, and of his wife, family, friends, and artist models.
Twenty-six sketchbooks are primarily in pencil and are undated or unidentified. Some sketchbooks include place names such as Monterey and Carmel, California, Mexico, and Paris.
Additional artwork includes loose sketches and a print by Warshawsky. Also found are prints and drawings by others, including Goya, Edwin Kaufman, and Paul de Lassence.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Material, 1923-circa 1940 (3 folders; Box 1)
Series 2: Correspondence, 1941-1964 (4 folders; Box 1)
Series 3: Writings and Notes, circa 1930-circa 1950 (0.4 linear feet; Box 1)
Series 4: Printed Material, 1920-1964 (0.2 linear feet; Box 1, 6, OV 12)
Series 5: Scrapbooks, 1913-1960 (0.3 linear feet; Box 1, 9)
Series 6: Photographs, circa 1910-1988 (1.4 linear feet; Box 1-2, 5, 7-8, OV 10)
Series 7: Sketchbooks, circa 1910-circa 1950 (1.0 linear feet; Box 2-3, 5-6)
Series 8: Artwork, circa 1900-1951 (0.5 linear feet; Box 3-5, OV 11)
Biographical / Historical:
Impressionist painter A.G. Warshawsky (1883-1962) was active in Paris and Monterey, California.
Abel George "Buck" Warshawsky was born in Sharon, Pennsylvania in 1883. He spent his childhood in Cleveland, Ohio where he studied at the Cleveland Art Institute. Warshawsky moved to New York where he studied at the Art Students League and the National Academy of Design. His brother, Alexander also became an artist.
In 1909, Abel Warshawsky left the U.S. for Paris where he remained for thirty years. There, he developed his unique style, combining Impressionism and Realism. He returned to the United States annually, mostly to sell his paintings, but remained active in the Parisian art scene until 1939. He exhibited his works in Cleveland, New York, Chicago, San Francisco, Los Angeles, and Paris.
Before the start of World War II, Warshawsky left Paris and settled in Monterey, California. Warshawsky married Ruth Tate in 1941. He died from heart failure in 1962. His works are in the permanent collections of the Akron Art institute, the Cleveland museum of Art, the Luxembourg Museum, the De Young Museum, the Petit Palais, and the Los Angeles County Museum of Art.
Separated Materials:
The Western Reserve Historical Society in Cleveland, Ohio holds the Abel G. Warshawsky Family papers.
Provenance:
The bulk of the A.G. Warshawsky papers were donated in 1996 by Froma Goldberg, Warshawsky's niece. In 1978, Ruth Warshawsky donated a typescript copy of her husband's autobiography, "My Brush with Life."
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington D.C. Research Facility. Contact Reference Services for more information.
Rights:
The A.G. (Abel George) Warshawsky 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.
Correspondence with dealers, artists, museums, publishers, photography studios, and others regarding art purchases, loans, and Shaw's collection; and 16 v. of scrapbooks containing photographs, letters, and biographical information on artists. Much of the correspondence with artists relates to Shaw's requests for the information which was then used in the scrapbooks. Also included is one volume compiled in 1947 outlining the contents of the scrapbooks.
REELS 1124-1125: 16 vol. of scrapbooks, 1864-1930, relating to artists represented in Shaw's collection, containing letters, many from artists, photographs of artists and their work, biographical data, clippings and articles, and comments on their work; and 1 v., "Notes: Edwin C. Shaw Collection of Paintings," compiled in 1947, and annotated "Used at Women's Art League Meeting at Miss Shaw's in 1947 by Mrs. [Jane S.] Barnhardt, who compiled it, and then given to the Art Institute Library," containing an outline of the contents of the 16 v. of scrapbooks.
Artists represented in the scrapbooks include J. Carroll Beckwith, Frank W. Benson, Ralph Blakelock, Emil Carlsen, William Merritt Chase, Timothy Cole, Elliott Daingerfield, Cyrus B. Dallin, Charles Davis, Warren Davis, Gleb Derujinsky, Charles M. Dewey, Thomas W. Dewing, Paul Dougherty, Frank Duveneck, Charles Eaton, Frederick Frieseke, George Fuller, Lillian Genth, Childe Hassam, Charles Hawthorne, William Morris Hunt, George Inness, John Johansen, Isidore Konti, John La Farge, William Lathrop, Frederick MacMonnies, Hermon A. MacNeil, Willard Metcalf, Herman Dudley Murphy, J. Francis Murphy, A. Phimister Proctor, Henry Ward Ranger, William Ritschel, Felix Russmann, Albert P. Ryder, Eugenie F. Shonnard, Lars Gustaf Sellstedt, Elliot Torrey, Dwight Tryon, Helen M. Turner, John Twachtman, Elihu Vedder, Bessie P. Vonnoh, Robert Vonnoh, Horatio Walker, J. Alden Weir, Frederick Ballard Williams, Henry Wolf and "The Ten."
REEL 4597: Correspondence, ca. 1916-1941, concerning art acquisitions with dealers Erwin S. Barrie of Grand Central Art Galleries; Thomas Whipple Dunbar; Frederic Newlin Price and T.H. Russell of Ferargil Galleries; W. Frank Purdy of the Gorham Co. Dept. of Sculpture and later the School of American Sculpture; D.H. Hatfield of Hatfield & Clark; Thomas Gerrity of M. Knoedler & Co.; Robert Macbeth, Robert McIntyre and Henry Miller of the Macbeth Gallery; Albert Milch of E.& A. Milch, Inc.; Newman Montross of Montross Gallery; J.E. Batts of the Thurber Art Galleries; Robert C. Vose of R.C. & N.M. Vose and Vose Galleries, and their frame shop, Carrig-Rohane; Howard Young of Howard Young Galleries; and J.W. Young; correspondence with artists and/or their families requesting the artist's portrait, biographical information and background, including letters from Elliot Daingerfield, Charles Dewey, Thomas Wilmer Dewing, John C. Johansen, Willard Leroy Metcalf, Hervey W. Minns, Hermann Dudley Murphy, A.P. Proctor, Eugenie Shonnard, Elliot Torrey, Dwight W. Tryon, Helen M. Turner, and Horatio Walker, and the families of J. Carroll Beckwith, George Inness, Lars Gustaf Sellstedt, John Henry Twachtman and J. Alden Weir; correspondence with the Dayton Art Museum and the Metropolitan Museum of Art regarding works lent for exhibition; with publisher Frederic Fairchild Sherman; with photography studios; and other miscellaneous correspondence.
Biographical / Historical:
Art collector; Akron, Ohio. Shaw, a BF Goodrich executive and avid collector of post-Civil War American art, was one of the founders of the Akron Art Institute, now the Akron Art Museum.
Provenance:
Lent for microfilming 1976 and 1992 by the Akron Art Museum. Shaw bequethed his art collection and papers to the Museum, then named the Akron Art Institute.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, American -- Collectors and collecting Search this
Ten American Painters (New York, N.Y.) Search this
Biographical material; correspondence with artists, galleries, and museums; photographs of Moses, Charles Eames, Frank Gehry, Kenneth Price, H. C. Westermann, members of the Tamarind Lithograph Workshop, 1968, and others; exhibition catalogs and announcements; and clippings.
Correspondents include Akron Art Institute, Alan Gallery, Albright-Knox Gallery, Brooke Alexander Inc., Allen Memorial Art Museum, Aquinas College (Mich.), Galleria dell 'Ariete, Jason Aver Gallery, Barone Gallery, Larry Bell, Billy Al Bengston, John Berggruen Gallery, Tony Berlant, Wally Berman, Irving Blum, Bocour Artist Colors, Inc., Brooklyn Museum, Dorothy Brown, Lydis Brown, Robert D. Brown, California State University (L.A), Vija Celmins, Norman Colp, Contemporary Arts Center, Corcoran Gallery of Art, James Corcoran Gallery, Roy De Forest, Mark Di Suvero, Dilexi Gallery, Documenta 5 (Greece), Dootson/Calderhead Gallery (Seattle, Wa.), Downey Museum of Art, Dunkelman Gallery, Editions Alecto of American, Ltd., Edizioni O (Milan), Robert Elkon Gallery, Everett Ellin Gallery, Sam Francis, Grapestake Gallery, Marcia Hafif, Hansen Fuller Gallery, Harry Holtzman, Walter Hopps, International Institute of Experimental Printmaking (Santa Cruz, Ca.), Ithaca College, Martha Jackson Gallery, Bernard Jacobson, Ltd. (London), Robert C. Kauffman, Leslie Kerr, Phyllis Kind Gallery, Robert Kinmont, Krikhaar Art Dealers (Amsterdam), La Jolla Museum of Contemporary Art, La Tortue Gallery, Galerie Dorothea Leonhart (Munich), Lippincott, Inc., Penny Little Fine Arts Service (Calif.), Los Angeles County Museum of Art, Alan Lynch, Christophe De Minel, Richard Minsky, Margaret Muller Galerie (Stuttgart), Multiples, Inc.,Hans Neuendorf Galerie (Hamburg), Newark Museum, Barnett Newman,Fine Arts Patrons of Newport Harbor, Oakland Museum, Mike Olodort, Constance Perkins, Philadelphia Museum of Art, Peter Plagens, Kenneth Price, Ad Reinhardt, Bruce Reynolds, Cesar Romero, Courtney Sale Gallery (Dallas), Alan D. Shean, Michael and Ileana Sonnabend, Galerie Darthea Speyer (Paris), Gene Sturman, Simon W. Taylor, Morgan Thomas, University of California at Los Angeles, U.C.L.A. Oral History Program (Michael Auping), University of New Mexico at Albuquerque, Larry Urrutia, H. C. Westermann, Nicholas Wilder Gallery, Malcolm Winton, and Theo Wujeik.
Biographical / Historical:
Painter; Venice, California. Moses was born in Long Beach, Calif., 1926. He studied, and later taught at the University of California, Los Angeles. He also taught at the Skowhegan School of Painting and Sculpture (Me.), and California State College.
Provenance:
Lent for microfilming 1980 by Ed Moses.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of painter Frank Kleinholz measure 6.3 linear feet and date from 1910s to 1980, with the bulk of the records dating from 1940s to 1980. The records document his career through correspondence, writing, exhibition and gallery records, financial files, audiovisual material, printed material, photographs, and artwork.
Scope and Contents:
The papers of painter Frank Kleinholz measure 6.3 linear feet and date from 1910s to 1980, with the bulk of the records dating from 1940s to 1980. The records document his career through correspondence, writing, exhibition and gallery records, financial files, audiovisual material, printed material, photographs, and artwork. Files pertain to exhibitions, books and other writings, the sale of artwork, collection inventories, and recorded interviews. Correspondents include family, friends and colleagues, galleries, and collectors. The collection also contains books, catalogs, clippings, announcements, and other ephemera; several paintings and illustrations, most of which were given to family members or kept private; and photographs of Kleinholz, his artwork, family and friends, and other artists.
Also included are 26 phonograph records of interviews, 1944-1945, which Kleinholz conducted for the "Art in New York" program, Station WNYC. Persons interviewed include Philip Evergood, Philip Reisman, Ralph Mayer, Elizabeth McCausland, Lily Harmon, Abraham Walkowitz, John Groth, and Ladislas Segy; and 2 7" tapes (untranscribed) of interviews, one containing a brief interview with Holger Cahill and a more lengthy interview with McCausland discussing Picassco and the 1944-1945 art season; the other an interview with Evergood.
Arrangement:
The collection is arranged as 6 series.
Series 1: Professional Files, 1940-1979, undated (Box 1, 9-11; 1.9 linear foot)
Series 2: Correspondence, 1920s, bulk 1940s-1980 (Box 2; 10 folders)
Series 3: Writings, 1920s, bulk 1940s-1970s (Box 2-3; .5 linear feet)
Series 4: Printed Material, 1940s-1980s (Box 3-4, OV 8; 1.5 linear feet)
Series 5: Artwork, 1940s-1970s, undated (Box 4; 5 folders)
Series 6: Photographs, 1910s, 1930s, bulk 1940s-1970s (Box 4-6, OV 8; 2 linear feet)
Biographical / Historical:
Frank Kleinholz (1901-1987) was an painter and art educator in New York.
Kleinholz was born in Brooklyn, New York. He received a bachelor's degree from Colby College in Maine, and in 1923, he graduated from Fordham University Law School and passed the New York State Bar examination. He then married Leah Schwartz in 1928; they had no children. Until the late 1930s, Frank Kleinholz was a lawyer in New York who, occasionally, submitted poems to newspapers for publication.
In 1939, Kleinholz was awarded a scholarship to study for one year at the American Artists School in New York, and the following summer he studied and painted in Mexico. After Mexico, his art career took off, establishing notoriety for his modernist paintings of the people and scenes in the world around him. By 1945, his work had been selected for exhibitions held by the Carnegie Institute, Phillips Memorial Gallery in Washington, D.C., and the Metropolitan Museum of Art in New York. In an unfortunate turn of events, Leah died of cancer in November of 1945. Frank then married Lidia Brestovan in 1946. They had two girls, Lisa and Anna, and one boy, Marco.
Kleinholz held one-man exhibitions at the Associated American Artists Gallery in New York, Park Gallery in Detroit, ACA Gallery in New York and Rome, and had retrospectives at Nassau Community College, Colby College, and the Lowe Art Museum at the University of Miami. He participated in group exhibitions at the Chicago Art Institute, Metropolitan Museum of Art, and Brooklyn Museum. He wrote the books Frank Kleinholz: A Self Portrait in 1964 and Ile de Brehat, The Flowering Rock in 1971; and books written about him include Frank Kleinholz: The Outsider, by August L. Freundlichn in 1969, and Kleinholz Graphics: Catalogue Raisonne, 1940-1975 by Sylvan Cole, Jr. and Ralph G. Martin in 1976. In addition to those mentioned above, his work is found in the permanent collections of the Moscow Museum of Fine Art, Newark Museum, University of Oklahoma, Marquette University, Akron Art Institute, and private collectors. Although most widely known for his paintings, Kleinholz worked with lithography, etching, and prints as well.
Contemporaneous with his career as an artist, Kleinholz was an art educator and talk-show contributor. He started the "Art in New York" interview program on radio station WNYC, New York City, circa 1940s, and was an art commentator for radio station WIOD, Miami, Florida in the 1960s. Kleinholz was an instructor at Hofstra University, Uniondale, New York, and lectured on contemporary art and art history at Smith College, Brandeis University, and the Park Synagogue in Akron, Ohio.
Provenance:
The collection was donated by Frank Kleinholz from 1961-1982.
Restrictions:
The collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing 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 -- New York (State) -- New York Search this
Educators -- New York (State) -- New York Search this
Frank Kleinholz papers, 1910s-1980. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Robert M. Doty papers measure 3.4 linear feet and date from 1913-1992. Included are personal and professional correspondence; writings; exhibition, project, artist and subject files; photographs, transparencies and slides; lists of works; notes; and copies of funding proposals.
Biographical / Historical:
Robert Doty (1933-1993) was an arts administrator and curator in New Hampshire Doty was director of The Currier Gallery of Art, Manchester, N.H. (1977-1987); director and curator at the Akron Art Institute, Ohio (1974-1977); curator at the Whitney Museum of American Art, New York, N.Y. (1966-1974); assistant to the director at the Yale University Art Gallery, New Haven, Conn. (1964-1965); assistant to the director at the Albright-Knox Art Gallery (1963-1964); and assistant director at the George Eastman House, Rochester, N.Y. (1956-1963).
Provenance:
Donated 1994 by Joan Doty, Doty's wife and in 2018 by Paul Doty, Robert Doty's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The records of Jacques Seligmann & Co. 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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Frank K. M. Rehn Galleries 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.
Collection Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art
This archive includes interesting documents related to Trude Guermonprez's life and work as a weaver. The archives are especially related to the designer's work for her major clients, like Holland America Line and Owens Corning Fiberglass; other pieces in this archive are related to Guermonprez's work for custom curtains made for major synagogues and her designs, interior fabrics, screens and rugs realized in conjunction with J.P. Oud, Architects Associated, New York; Eric Mendelsohn, Warren Callister, etc. The correspondence and the photographs in this collection provide insight into the designer's private life. Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Arrangement note:
Unprocessed; Included in this collection are press articles, brochures, correspondence, postcards, photographs, color slides, notebooks, textiles, and textile wood patterns.
Biographical/Historical note:
Trude Guermonprez is an experienced weaver as well as a designer, artist, craftsman and teacher. She has executed architectural commissions and has done interior design for industry. Her work is of great variety in character and form. Guermonprez started weaving in Halle, Germany at the Municipal School of Arts and Crafts. Six years of weaving in a Dutch rug shop preceded her coming to America, at the invitation of Anni Albers, to teach at Black Mountain College, and later to northern California to join her friend Marguerite Wildenhain, at Pond Farm Workshops in a producing-teaching cooperative. She served as Chairman of the Craft Department at The California College of Arts and Crafts. Though she designed fabrics for New York textile manufacturers, her works were mainly custom produced for architects and individuals. In 1970 she was honored the Craftsmanship Medal from the American Institute of Architects.
Guermonprez published works in Art and Architecture, 1949; Shuttlecraft Weaving Magazine, 1957; and Research in Crafts, 1961.
She also participated in the following exhibitions: de Young Museum; American Wallhangings, London; Oakland Art Museum; Pasadena Art Museum; U.S. Information Agency State Department Show, traveling Europe exhibition; "Craftsmen of the West", "Fabrics International" and "10 American Weavers" at the Victoria and Albert Museum in London. In 2000 at Staatliche Galerie Moritzburg Halle Landeskunstmuseum, Halle (Salle), Germany: "From Bauhaus to the Pacific: The Impact of Emigration on Marguerite Wildenhain and Trude Guermonprez".
Location of Other Archival Materials Note:
The North Carolina State Archives web site has material in its collection related to Guermonprez as a teacher and artist-in-residence at Black Mountain College.
The Archives of American Art hasoral history interviews of Merry Renk conducted 2001 Jan. 18-19 by Arline M. Fisch for Nanette L. Laitman's, Documentation Project for Craft and Decorative Arts in America. Guermonprez is only mentioned.
Provenance:
All materials were donated to the museum by Mr. Eric and Mrs. Sylvia Elsesser in 1993.
Restrictions:
Unprocessed; access is limited. Permission of Library Director required. Policy.
National Portrait Gallery. Office of the Deputy Director Search this
Extent:
5 cu. ft. (5 record storage boxes)
Type:
Collection descriptions
Archival materials
Manuscripts
Exhibition catalogs
Black-and-white photographs
Color transparencies
Date:
1985-2000
Descriptive Entry:
This accession consists of records that document the exhibition research, planning, and execution activities of the Deputy Director of the National Portrait Gallery
(NPG). Records also document the Deputy Director's interaction within and among the offices under her direction, as well as outside contacts and dealings. These records were
created and maintained by Carolyn Kinder Carr, Deputy Director, 1991- . Among other duties, the Deputy Director serves as the Gallery's chief art historian. It is in this
capacity that she curates exhibitions.
Carr came from the Akron Art Institute to the National Portrait Gallery in 1984 as the Assistant Director for Collections. When the Assistant Director for History and Public
Programs left the Gallery (c. 1991), reorganization of the Gallery's upper administration took place. At that time, Carr was named Deputy Director and absorbed two programmatic
responsibilities of the former Assistant Director for History and Public Programs. The service responsibilities (publications and the library) of the, now defunct, office
were absorbed by the Assistant Director for Administration, later renamed the Associate Director for Administration (c. 1992).
In her capacity as Deputy Director, Carr has direct responsibility for all the Curatorial Departments (Painting and Sculpture, Prints and Drawings, and Photographs); the
Department of History; Office of the Registrar; the Center for Electronic Research and Outreach; the Conservation Department; and the Department of Education.
Materials include correspondence, memoranda, slides, photographs, reports, research reference files, obituaries, press packets, typescripts of catalogs, scripts, and related
material.
Four exhibition subjects mentioned in the files are noted as "canceled" and not listed in the official list of NPG exhibitions, they are: the Daguillard Collection, Oak
Hill Cemetery, Uriah Levy, and Court Portraiture in the Reign of Phillip II. There is also a large group of files devoted to a proposed exhibition that was never produced,
it was: Four Muses of Movement: Martha Graham.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of electronic records with no duplicate access copies requires advance notice.
Collection Citation:
Loren Madsen papers, 1969-2019. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of the collection was provided by Gerald and Bente Buck.
The Alice Neel 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.
Collection Citation:
Alice Neel papers, 1933-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
Collection Rights:
The Midtown Galleries records are owned by the Archives of American Art, Smithsonian Institution. 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.
Collection Citation:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Macbeth Gallery 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The Carnegie Institute Museum of Art 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.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
