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Will Foster papers

Creator:
Foster, William Frederick, 1882-1953  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1919-1974
Scope and Contents:
Biographical material, 1939-1948; correspondence, undated and 1937-1954; business records, 1938-1953; 1 pen and ink drawing; reproductions of works of art, clippings, and exhibition catalogs and announcements undated and 1919-1974, photographs of Foster, his family and works of art, undated; and an album containing photographs of Foster, his family, works of art, and clippings.
Biographical / Historical:
Painter, portrait painter, illustrator; New York, N.Y. and Los Angeles, California.
Provenance:
Donated by Donna Foster Paxton, daughter of Will Paxton, 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Illustrators -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Painters -- California -- Los Angeles  Search this
Portrait painters -- California -- Los Angeles  Search this
Topic:
Magazine illustration  Search this
Painting, American  Search this
Portrait painting, American  Search this
Genre/Form:
Drawings
Identifier:
AAA.fostwill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fostwill

American Society of Contemporary Artists records

Creator:
American Society of Contemporary Artists (New York, N.Y.)  Search this
Brooklyn Society of Artists (New York, N.Y.)  Search this
Names:
Ascher, Mary G. (Mary Goldman), b. 1900  Search this
Connelly, William J. -- Photographs  Search this
Facci, Domenico, 1916-1994  Search this
Fohr, Jenny  Search this
Paris, Dorothy, b. 1899  Search this
Ranson, Nancy Sussman, 1905-1993  Search this
Smul, Ethel Lubell, b. 1897  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
3 Linear feet ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Date:
1917-1985
Scope and Contents:
Correspondence, (1951-1970), business records (1917-1980), scrapbooks (1949-1970), and printed material (1933-1985).
REELS D243-D244: Correspondence (1951-1965) concerning the Society's membership, exhibition activities, and related business topics; a cashbook (1918-1921) listing the payment of dues; a guest register records attendance of exhibitions (1949-1955); two notebooks contain minutes of meetings (1917-1965); minutes of the Board of Governors' meetings (1918-1965); a proclamation concerning travelling exhibitions (1957); printed material; and two scrapbooks.
REELS 1708-1709: Correspondence (1965-1970) concerning general Society business topics, exhibitions, and financial topics. Correspondents include prominent members Domenico Facci, Jenny Fohr, Dorothy Paris, Nancy Ranson, Ethel Smul, and John von Wicht. Also, a history of ASCA; membership lists (1956, 1958, and 1969); a notebook containing minutes of meetings (1965-1970); financial reports (1963-1970); and two scrapbooks.
REEL 1817: Photograph of William J. Connelly, manager of exhibits, Public Relations Department, Union Carbide Corporation, receiving the 1973 American Society of Contemporary Artists Award from Mary Ascher, President of the Society. The photograph was previously microfilmed under Photos of Artists II, and has subsequently been scanned and returned to the American Society of Contemporary Artists records.
REEL 2786: Correspondence (1980), primarily letters to members from ASCA president Harold M. LeRoy concerning exhibitions; minutes of meetings, 1973-44, and 1979-1980; a membership list; printed materials, and reports.
UNMICROFILMED: Letters and printed material, 1983-1985.
Biographical / Historical:
Est. 1917 as Brooklyn Society of Artists. Membership limited to artists living or working in Brooklyn. Exhibitions were held in various galleries including at Abraham and Straus, the Pratt Institute, the Brooklyn Academy of Music, and other cultural centers in Brooklyn. In 1919, membership was extended to artists outside Brooklyn and in 1954, the Society held its first travelling exhibition. As membership grew to encompass the entire United States, the Society's name was changed in 1963 to the American Society of Contemporary Artists, or the ASCA.
Provenance:
Records filmed on reels D243-D244 were originally lent August 1965 via Mrs. Elizabeth Erlanger. They were donated along with new material, which was filmed on reels 1708-1709, in June 1973, via Mary Ascher, president. Constance Scharff, recording secretary, donated 12 items in 1979, Harold LeRoy donated 32 items during his presidency in 1980, and in 1985, an additional 0.2 linear feet of material was donated by Edith L. Abrams, who served as ASCA president from 1983-1985. Provenance of photo on reel 1817 unknown, microfilmed in 1980 as part of AAA's Photographs of Artists Collection-Two.
Restrictions:
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. Contact Reference Services for more information.
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
Art, Modern -- History -- Sources  Search this
Identifier:
AAA.amersoci
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-amersoci

Samuel Wilson Frazer papers

Creator:
Frazer, Samuel Wilson, 1866-1954  Search this
Names:
Scott Carbee School of Art -- Faculty  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[circa 1880-1980]
Scope and Contents:
Biographical information; correspondence; manuscript and notes for Frazer's book on air-brush techniques, Treatise on the Air Brush (1915); inventory of work; photographs of Frazer and of his work; orders for portraits; financial records, ca. 1933-ca. 1955; exhibition notices; brochures for the Scott Carbee School of Art, Boston; a work of art; and miscellaneous printed material.
Biographical / Historical:
Painter, air brush artist, photographer; Boston, Mass. Attended the Art Students League in N.Y. and studied under John Twachtman, J. Carroll Beckwith and Willard Metcalf. He was a charter member of the Brooklyn Pen and Pencil Club, and a member of the Boston Art Club. He was a pioneer in the field of air-brush art and published a book on the subject in 1915. He became an instructor at the Scott Carbee School of Art in Boston in 1943.
Provenance:
Lent 1991 by Gertrude Frazer, daughter of Samuel Frazer. She subsequently donated the material in March 1993.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Topic:
Airbrush art -- Technique  Search this
Painting, American  Search this
Identifier:
AAA.frazsamu
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frazsamu

Don Freeman printed material

Topic:
Don Freeman's newsstand (Magazine)
Creator:
Freeman, Don, 1908-1978  Search this
Extent:
0.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Place:
New York (N.Y.) -- Periodicals
Date:
1936-1955
Scope and Contents:
An announcement and 18 issues, 1936-1955, of the bi-monthly periodical DON FREEMAN'S NEWSSTAND published by Freeman, featuring sketches of New York City street life (reels LA 9 and 76 and unmicrofilmed); 4 issues of AMERICANA, undated, (unmicrofilmed); and OUR FLYING NAVY, 1944, (reel LA 9) illustrated by Freeman.
Biographical / Historical:
Illustrator; New York, N.Y. Born 1908. Died 1978. Born in San Diego. Went to New York City at the age of 21. Studied with John Sloan and Harry Wickey at the Art Students League.
Related Materials:
Don Freeman papers also at Syracuse University.
Provenance:
Material filmed on reel LA 9 was lent by Don Freeman in 1965; three items on frames 398-417 and 420-492 were subsequently donated on an unknown date. Material on reel 76 and unmicrofilmed portion donated 1966 by Vernon Porter, Director of the National Academy of Design.
Restrictions:
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. Contact Reference Services for more information.
Occupation:
Illustrators -- New York (State) -- New York  Search this
Topic:
Art and society  Search this
Illustrated periodicals -- New York (State) -- New York  Search this
Drawing, American -- Periodicals  Search this
Drawing -- 20th century -- New York (State) -- New York -- Periodicals  Search this
Identifier:
AAA.freedon
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freedon

Frank K. M. Rehn Galleries records

Creator:
Frank K. M. Rehn Galleries  Search this
Names:
Bartlett, Frederic Clay, 1873-1953  Search this
Bellows, George, 1882-1925  Search this
Brook, Alexander, 1898-1980  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Chappell, Warren, 1904-  Search this
Clancy, John C., 1897-1981  Search this
Coleman, Glenn O., 1887-1932  Search this
Cook, Howard Norton, 1901-1980  Search this
Cuthbert, Virginia, 1908-2001  Search this
Dasburg, Andrew, 1887-1979  Search this
Gellatly, John, 1853-1931  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Hopper, Edward, 1882-1967  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
James, Alexander, 1890-1946  Search this
Kroll, Leon, 1884-1974  Search this
Luks, George Benjamin, 1867-1933  Search this
Mangravite, Peppino, 1896-  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Reginald, 1898-1954  Search this
McFee, Henry Lee, 1886-1953  Search this
Melchers, Gari, 1860-1932  Search this
Orton, J. Robert  Search this
Pepper, Charles Hovey, 1864-1950  Search this
Phillips, Duncan, 1886-1966  Search this
Poor, Henry Varnum, 1887-1970  Search this
Russo, Alexander  Search this
Spalding, John T.  Search this
Sparhawk-Jones, Elizabeth, 1885-1968  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Spruance, Benton, 1904-1967  Search this
Strater, Henry, 1896-  Search this
Tucker, Allen, 1866-1939  Search this
Tucker, Richard Derby, 1903-  Search this
Winters, Denny Sonke, 1907-1985  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Date:
1858-1969
bulk 1919-1968
Summary:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.
Scope and Content Note:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.

Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.

Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.

Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.

Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.
Arrangement:
Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.

The collection is arranged into 6 series:

Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)

Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)

Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)

Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)

Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)

Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)
Historical Note:
Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.

Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.

Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.

The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.

In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, and remained there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.
Related Material:
John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.

Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Rehn Galleries. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Provenance:
The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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.
Topic:
Gallery owners  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Works of art  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franrehg
See more items in:
Frank K. M. Rehn Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franrehg
Online Media:

J. Bond Francisco papers

Creator:
Francisco, J. Bond (John Bond), 1863-1931  Search this
Names:
Patti, Adelina, 1843-1919  Search this
Wright, Harold Bell, 1872-1944  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Place:
Arizona -- Pictorial works.
Date:
1880-1957
Scope and Contents:
Writings, including handwritten anecdotes of Francisco's life in Berlin in 1890, an evening at Cafe des Arts in Paris, his service on a coroner's jury in Los Angeles in 1919, early concerts by Adelina Patti, and an essay on music and painting; a 121 p. photo album, "Arizona Notes in Picture by and for Harold Bell Wright, 1911-1914," inscribed by the author to Francisco; photographs of Francisco, his studio, family and paintings; an ink sketch; articles; and reproductions of Francisco's paintings.
Biographical / Historical:
Painter, concert violinist, art and music teacher; Los Angeles, Calif. Studied art and music in Berlin, Munich, and Paris with Bouguereau.
Provenance:
Donated 1992 by Francisco's grandson, A. Bond McGaffey.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- California -- Los Angeles  Search this
Topic:
Artists' studios -- Photographs  Search this
Identifier:
AAA.franj
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franj

Pearl Fox letters from artists

Creator:
Fox, Pearl, 1908-  Search this
Names:
Cheltenham Art Centre  Search this
Extent:
28 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1954-1961
Scope and Contents:
Letters to Fox from artists in response to Fox's invitation to serve as jurors for the Cheltenham Art Centre's annual exhibitions. Correspondents include Milton Avery, Isabel Bishop, Al Blaustein, Philip Evergood, Lee Gatch, Adolph Gottlieb, John Heliker, Joseph Hirsch, Morris Kantor, Dong Kingman, Karl Knaths, David Levine, Loren MacIver, William Palmer, Beverly Pepper, Gregorio Prestopino, Ben Shahn, James Johnson Sweeney, Jack Tworkov, Robert Vickrey and Max Weber. Also included is a clipping on Weber.
Biographical / Historical:
Exhibition organizer, Cheltenham Art Centre; Cheltenham, Pa. Formerly operated the Pearl Fox Gallery (est. 1948)
Provenance:
Donated 1990 by Pearl Fox.
Restrictions:
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. Contact Reference Services for more information.
Occupation:
Artists -- United States  Search this
Topic:
Art -- Societies, etc. -- Pennsylvania  Search this
Art -- Exhibitions  Search this
Identifier:
AAA.foxpearl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-foxpearl

Henry Sayles Francis papers

Creator:
Francis, Henry Sayles, 1902-1994  Search this
Names:
Cleveland Museum of Art  Search this
Abbott, Jere  Search this
Berenson, Bernard, 1865-1959  Search this
Hitchcock, Henry-Russell, 1903-1987  Search this
Kates, George N. (George Norbert), 1895-  Search this
Lugt, Frits, 1884-1970  Search this
Maugham, W. Somerset (William Somerset), 1874-1965  Search this
Milliken, William Mathewson, 1889-1978  Search this
Mongan, Agnes  Search this
Parsons, Harold Woodbury, 1883-1967  Search this
Sheeler, Charles, 1883-1965  Search this
Sommer, William, 1867-1949  Search this
Tiepolo, Giovanni Domenico, 1726?-1804  Search this
Extent:
5 Linear feet ((partially microfilmed on 6 reels))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1924-1983]
Scope and Contents:
Biographical information, correspondence, subject files, notebooks, photographs, clippings, price lists concern Francis' work at the Cleveland Museum of Art, his friendship with George Kates, and his interest in painter William Sommer.
REELS 881-882: Primarily research material compiled by Francis and his wife Frances Merriman Francis for the Ten Thirty Gallery Sommer retrospective in 1946 and the Cleveland Museum of Art's William Sommer Memorial Exhibition, held November 1-December 10, 1950. Included are biographical material; correspondence of Henry Sayles Francis and other museum staff regarding Sommer, and copies and transcripts of Sommer's correspondence (including a few letters from Hart Crane); reminiscences of Sommer from friends and colleagues; exhibition catalogs; notebooks of information on Sommer's works; and a bibliography.
REELS 3838-3841: Biographical information; correspondence, arranged chronologically, with colleagues, friends, dealers, collectors, and others; and subject/correspondence files, arranged alphabetically, on colleagues, dealers, exhibitions, and various art topics; photographs of Francis, juries (Charles Sheeler is in one), Matisse in his studio, Somerset Maugham, Frits Lugt, and his wife; and clippings relating chiefly to the Cleveland Museum of Art.
Subject/correspondence file titles include: Jere Abbott, Sir Geoffrey Agnew, Winslow Ames, Harry W. Anderson Collection, R. Kirk Askew, Bernard Berenson (ca. 50 letters received), John Bergschneider, Walter Blodgett, Rowland Burdon-Muller, David Carritt, Charles Chetham, Cleveland Museum of Art, John I. Coddington, Ralph Tracy Coe, Contini Collection, Cooper Union, Richard S. Davis, Robert Tyler Davis, Harold S. Ede, Ross Edman, Everett Fahy, Julia Feininger, Henry-Russell Hitchcock, Howard C. Hollis, Charles Hopkinson, Michael Jaffeé, Harold Joachim, Lincoln Kirstein, Henry Adams LaFarge, Viktor Langen, Nicky Mariano, William Mathewson Milliken, Agnes Mongan, William Mostyn-Owen, Roger Hale Newton, Benedict Nicolson, Luisa Nicolson, Harold Woodbury Parsons, John Pope-Hennessy, Alan Priest, John Rewald, Marvin C. Ross, Henry Preston Rossiter, Paul Joseph Sachs, Meryle Secrest, Germain Seligman, Peter Shepherd, Theodore Sizer, William Sommer (exhibitions), Frederick A. Sweet, Daviel Varney Thompson, Giovanni Domenico Tiepolo, Gertrude Underhill, Peter Vanderbilt, Langdon Warner, Nancy and William Wixom, and Richard H. Zinser.
UNMICROFILMED: Primarily letters from and material on George Norbert Kates, an authority on pre-communist China and Francis's lifetime friend and additional material on William Sommer. Kates material consists of ca. 1000 letters to Francis, ca. 1924-1984, concerning personal affairs, financial ventures, their research efforts and careers, and Kates's research on the 15th century Duchess Eleanor of Scotland. A significant number of letters from 1953 refer to Bernard Berenson and his art research and collection. Also included are a subject file on Kates' interest in Herman Hesse; and a file of Kates' research material on Duchess Eleanor of Scotland.
Unmicrofilmed Sommer material includes a letter from Sommer to C.P. Marsh, 1931; a Christmas card from Josephine and Theodor Braasch to Sommer; a page of writings by Sommer; photographs of Sommer and of a studio; several sketches and drawings; and printed material.
REEL 440 AND SCANNED One photograph of Sommer, microfilmed under Photos of Artists I, and scanned.
The remaining unfilmed material consists of Francis's notebooks (4 v.) primarily about the history of European paintings, drawings and prints, including notes about individual works of art; financial records, including price lists of European works of art, ca. 1930-1969, price list, insurance values and appraisals of two collections from the Cleveland Museum of Art, ca. 1923-1957; and minutes from two accessioning meetings at the Museum, 1930 and 1931.
Biographical / Historical:
Art museum curator; Cleveland, Ohio. Francis worked at the Cleveland Museum of Art from 1927 to 1929, leaving for a position at the Fogg Museum as assistant to directors Edward Forbes and Paul Sachs. He returned to the Cleveland Museum in 1931, remaining there as Curator of Paintings and Prints until 1967.
Provenance:
Research material on William Sommer donated 1975 by Henry Sayles Francis; he donated the remainder in 1984.
Restrictions:
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. Contact Reference Services for more information.
Occupation:
Art museum curators -- Ohio -- Cleveland  Search this
Function:
Art museums -- Ohio -- Cleveland
Identifier:
AAA.franhenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franhenr

Robert J. Forsyth research material on John B. Flannagan

Creator:
Forsyth, Robert J.  Search this
Names:
United States. Works Progress Administration  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Date:
1931-1987
Scope and Contents:
Research material on sculptor John Bernard Flannagan gathered in preparation for Forsyth's Ph.D dissertation on Flannagan (Univ. of Minnesota, 1965) and for an incomplete catalog raisonne. Included are photocopies of letters from Flannagan to the Works Progress Administration regarding his dismissal, 1933-1934; Forsyth's correspondence with Flannagan's acquaintances, collectors, art historians, and dealers, 1955-1987; an incomplete typescript of the catalogue raisonne, and other writings on Flannagan by Forsyth; notes and notebooks; research files including interviews, notes and printed material; exhibition catalogs and clippings, 1931-1976; and 1.0 linear ft. of photographs and negatives of Flannagan's art work.
Biographical / Historical:
Art historian; Eden Prairie, Minn. Flannagan was an American sculptor and engraver, 1895?-1942.
Provenance:
Donated 1991 by Forsyth.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Sculptors  Search this
Art historians -- Minnesota  Search this
Topic:
Sculpture, Modern -- 20th century -- United States  Search this
Sculpture, American  Search this
Genre/Form:
Interviews
Identifier:
AAA.forsrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-forsrobe

John Foster papers

Creator:
Foster, John Arthur, 1900-1980  Search this
Extent:
0.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca. 1935-1989]
Scope and Contents:
Biographical material, business records concerning sales, loans, and exhibitions, undated and 1943-1981; writings, including lecture notes, articles and drafts, undated and 1938-1953; correspondence with professors, art and ceramic institutions, friends and colleagues, undated, and 1935-1977; printed material, including exhibition catalogs, announcements, and clippings, undated and 1938-1989; and photographs, slides, and negatives of Foster's work.
Biographical / Historical:
Ceramist; Detroit, Michigan.
Provenance:
Donated by Gordon and Elizabeth L. Orear, 1990, who obtained the material while writing their book THE POTTERY OF JOHN FOSTER: FORM AND MEANING (Detroit : Wayne State University Press, 1990)
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Ceramicists -- Michigan -- Detroit  Search this
Topic:
Pottery -- United States  Search this
Identifier:
AAA.fostjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fostjohn

Stephen Antonakos papers

Creator:
Antonakos, Stephen, 1926-2013  Search this
Names:
Allentown Art Museum  Search this
Ethniko Mouseio Synchronēs Technēs (Greece)  Search this
Fischbach Gallery  Search this
Galerie Bernier  Search this
Galleria Bonomo  Search this
Galleriaforma  Search this
Ileana Tounta Contemporary Art Center  Search this
John Weber Gallery  Search this
Kalfayan Galleries  Search this
Konrad Fischer Gallery  Search this
La Jolla Museum of Contemporary Art  Search this
Lori Bookstein Fine Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Mouseio Benakē  Search this
Rose Art Museum  Search this
Savannah College of Art and Design  Search this
The Drawing Room  Search this
Ādo furondo gyararī  Search this
Adler, Sebastian  Search this
Bladen, Ronald, 1918-1988  Search this
Kitagawa, Fram, 1946-  Search this
Kokkinos, George  Search this
Koshalek, Richard  Search this
Marzona, Egidio  Search this
Spector, Naomi  Search this
Extent:
24.2 Linear feet
1.73 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Transcripts
Interviews
Photographs
Sketchbooks
Drawings
Blueprints
Obituaries
Date:
1932-2014
bulk 1960-2014
Summary:
The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.

Biographical material comprises biographical statements and resumes, transcripts of 5 interviews, copies of obituaries, and other records relating to Antonakos's memorial service in 2013.

Correspondence is primarily professional, with scattered personal correspondence, and provides suppemental documentation of all aspects of the artist's career, including gifts, sales, loans, and consignments to galleries and museums such as Fischbach Gallery; John Weber Gallery; Lori Bookstein Fine Art; Galleria Bonomo, Bari; Art Front Gallery, Tokyo; Galerie Bonnier, Stockholm; Galerie Bernier, Athens; Kalfayan Gallery, Athens; Galerie Citronne, Poros; Konrad Fischer Gallery, Berlin; Daniel Marzona Gallery, Berlin; The American Academy of Arts and Letters; The Metropolitan Museum of Art; The Museum of Modern Art; the Onassis Cultural Center; the Museum of Contemporary Art San Diego; the Rose Art Museum, Brandeis University; the Smith College Museum of Art; the Dallas Museum of Art; the National Museum of Contemporary Art, Athens; the State Museum of Contemporary Art, Thessaloniki; and the Benaki Museum, Piraeus.

Writings and notes provide artist statements on all aspects of Antonakos's work, as well as teaching notes from the 1960s.

Project files are a rich source of information on Antonakos's work in neon, particularly for the large-scale permanent Public Works including Hampshire College, Amherst; the Tacoma Dome; Pershing Square, Los Angeles; the Atlanta Hartsfied Airport; the 59th Street Transfer Station, New York City; Faret Tachikawa, Japan; the Stadtsparkasse, Cologne; the Reading Power Plant, Tel Aviv; the San Antonio Public Library; the University of Dijon; the Attiko Metro, Athens; the Mitchell International Airport, Milwaukee; and the Airport of Puglia, Bari. All aspects of the artist's work, from conception on paper through execution and reception by the public, are documented here in correspondence, artist statements and proposals, contracts, insurance records, original drawings, plans and blueprints, printed and digital material, and photographs. Ideas and proposals for projects not executed are also documented in this series, and comprise the same types of material.

Antonakos's conceptual Packages are documented in lists, letters of transmittal, and photographs. The series also holds the contents of a Package given to the Archives of American Art in 1975 and opened, as requested, after his death: a 35mm microfilm of a sketchbook kept by Antonakos from 1974-1975, with sketches and notes about his neon projects.

Antonakos's artistic development can be traced chronologically in the exhibition files from some of his earliest work with neon in combination with found objects, to the use of neon alone. Exhibition files document the artist's progression from placing neon on a base or wall and at the corners and ceilings of rooms, to placing tubes at the edges of panels in order to generate a colored glow around them; furthermore, they document the evolution from his early boxes, contained spaces, and indoor and outdoor rooms, to his meditation spaces and chapels. Also in evidence in this series is the artist's prolific output of drawings, which were shown in numerous exhibitions. Exhibition files include documentation from circa 100 solo shows and from his over 250 group shows, at venues including Allentown Art Museum, the Benaki Museum, The Drawing Room, Galleriaforma, Genoa, Ileana Tounta Contemporary Art Center, Athens, John Weber Gallery, La Jolla Museum of Contemporary Art, Lori Bookstein Fine Art, the National Museum of Contemporary Art, Athens, Rose Art Museum, and the Savannah College of Art and Design. Many of the files include Antonakos's original drawings and plans.

Printed material comprises announcements and catalogs for Antonakos's solo and group exhibitions, posters of the same, press and publicity clippings, and 10 publications about or including Antonakos and his work.

There are 7 photographs of Antonakos, including portraits by George Kokkinos and photos with others including Sebastian Adler, the artist's daughter Evangelina Mary Spector Antonakos, Naomi Spector Antonakos, Ronald Bladen, and Richard Koshalek. Also found are photos of artwork by category, and digital photographs of sample images.

The collection includes 1 reel of microfilm (35mm).
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1970s-2014 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1964-2014 (3.25 linear feet; Boxes 1-4, 24)

Series 3: Writings and Notes, circa 1966-2012 (0.3 linear feet; Box 4, 0.932 GB; ER01)

Series 4: Project Files, 1965-2014 (8.6 linear feet; Boxes 4-11, 24, OVs 25-40, 0.275 GB; ER02-ER04)

Series 5: Exhibition Files, 1960-2014 (8.95 linear feet; Boxes 11-19, 24, OVs 40-45, 0.094 GB; ER05)

Series 6: Printed Material, 1959-2013 (3.3 linear feet; Boxes 19-23, OVs 46-47)

Series 7: Photographs, 1932-2013 (0.5 linear feet; Box 23, 0.431 GB; ER06)
Biographical / Historical:
American sculptor Stephen Antonakos (1926-2013) was a pioneer in the use of neon as an artistic medium from the early 1960s onward. Born in Agios Nikolaos in southern Greece, he immigrated to the US with his family at the age of four and lived in New York City thereafter.

After serving in WWII he established his first studio in the 1950s in New York City's fur district, a fertile neighborhood for the found objects and found materials of his early large Assemblages, Constructions, and "Sewlages" (sewn fabric collages) through that decade, when he worked also as a commercial artist. Seeing the neon signs in these Manhattan streets night after night released his intuition of the medium's untapped flexibility. He called neon "a paradise" he wished to "control" in his own new way, with abstract geometric forms in space.

Concentric neon circles and squares appeared first, notably in the transitional White Light (1962). Mostly black, it incorporated a cut-up Thonet chair and a box-form of found rabbit fur. In the same year, he moved on to his central engagement with neon in architectural space with his Hanging Neon, whose colored tubes jut diagonally into the viewers' space from a box suspended from the ceiling. He continued this key dynamic boldly in many large mid-1960s installations: Orange Vertical Neon, Red Neon from Wall to Floor, and Red Neon from Wall to Wall. There are small-scale models from the period for many more. All fulfill the artist's definition of his work as "real things in real spaces."

His 1962-63 Pillows and Pillow Drawings, exhibited first at the Contemporary Arts Museum, Houston, are distinguished by the intense engagement of the hand: cutting, adding, sewing, stuffing, drawing, layering, and combining materials in ways that clearly predict his constant practice with drawings and collages through the following decades. The subsequent role of works on paper in forming Antonakos's development cannot be over-emphasized; he drew almost every day. The physicality of these compositions and of the cuts and tears and layering in his collages through the years, make them not images, but objects. The same holds for the many Travel Collages produced from the late 1970s through 2001.

Throughout the 1970s, medium-scale two- and three-dimensional variations of his geometric vocabulary were strategically positioned on white walls in formal dialogue with their sites' ceilings, floors, inside corners, and outside corners. Known as the Direct Neons, these works were exhibited extensively in galleries and museums across Europe and the US. As ever, new work was conceived for each venue's particular sites.

A very large group of Project Drawings from the late 1960s through the early 1970s charts Antonakos's thinking through the Direct Neons and on into installations of greater scale, his Walls and Rooms.

First shown in Athens, the Walls investigated both bold and subtle variations of almost "syntactical" relationships between the neon forms "drawn" on the colored surfaces. Two 1973 Rooms allowed simultaneous formal engagement with interior and exterior architectural spaces. In both, making the entire interior a single unit fulfilled Antonakos's hope of including the viewer within the space of the art. San Francisco Room was exhibited inside the Museum of Art. The Room, placed outdoors in downtown Grand Rapids, offered more viewing options from greater distances, rooftops and, very importantly, with exposure to the daily 24-hour cycle of natural light. 1974, Outdoor Neons for the Fort Worth Art Museum upped the ante further with enormously greater scale and geometric diversity. This was nourishment for Antonakos's central concerns uniting light, form, and time throughout his future Public Works.

The mid-1970s saw a definitive change in the drawings. They became completely abstract, without reference to anything outside the work itself. Often made in series, they explored complete and incomplete linear forms in relation to the proportions of the sheets.

All through the 1970s Antonakos produced his conceptual Packages. Filled, sealed, and sent to individuals or groups of friends, they were meant either never to be opened, to be opened on a specific date, or to be opened after the death of the artist. There were approximately thirty projects. An important set sent in 1974 and 1975 to Richard Artschwager, Daniel Buren, Sol LeWitt, and Robert Ryman to be filled by them was opened twenty-five years later as the central event during the major exhibition Time Boxes 2000 at the Brandeis's Rose Art Museum. Less concerned with their contents than with our consciousness through time of not knowing, they relate to such concepts as "incomplete circle" -- knowing what/that we do not know/see. The Greek art historian Savvas Michael has written: "The material of the Packages is time."

From the late 1970s, for over thirty years, there was an active practice of Public Works in neon. More than fifty were constructed and installed in indoor and outdoor sites in airports, rail stations, university campuses, banks, and downtown areas in cities across the US, Europe, and Japan. They range from the spare 15' incomplete square on the facade of the San Diego Museum of Contemporary Art to the almost 500' treatment of the chimney complex of the Reading Power Plant in Tel Aviv. Antonakos began each project by considering the formal qualities of the site day and night and its use by the public. He considered working for the public a special responsibility.

Moving into the 1980s, Antonakos placed neon forms on painted unstretched canvases and on the faces of large geometric forms on walls and floors. This period also saw the crucial introduction of neon placed behind the edges of wall Panels, so that only the colored glows are seen. These Panels developed into one of his major practices to the end -- their single or segmented geometric surfaces variously monochrome, painterly, or gold or silver-leafed. They have been extensively exhibited in Europe and the US. In 2009 the public-scaled neon Panel The Road to Mistra was commissioned for the Onassis Cultural Center in New York. In response to this work, the New York art historian Irving Sandler wrote, "Essentially a classicist in the Constructivist tradition, he has revealed the poetry of neon."

Antonakos started to design his Chapels and Meditation spaces with neon in the late 1980s and continued through the rest of his life. Their roots lie in his lifelong commitment to Greek Orthodoxy and in the evolution of his activation of geometric space. They include his 1993 Chapel of the Saints in a fortress in Rhodes, which he described in a letter to Elias Kollias as being, at that point, "the masterwork of my life." The full-scale iron Chapel of the Heavenly Ladder was exhibited in the XLVII Venice Biennale and is permanently installed now in Thessaloniki. In 2003, the Greek art critic Alexandra Koroxenides wrote of Antonakos's "capacity to create surroundings of meditation and spirituality." Many Chapels have been created for important temporary exhibitions here and in Greece, and small precise models exist for more of them.

Through the 1980s and to the end, the drawings on various papers and vellums developed in many directions, some full of white space, some filled to the hilt with intensely colored forms -- sometimes singly and often in series. In the mid-1990s Antonakos began using the multicolored pencil, in dense overall hatchings and later in open spatial "clouds." One drawing of 72 dense square units is like an installation as it plays out rhythmically across the four walls of the gallery. The various ideas of the drawings intersect with those of his collages, reflecting always the active hand. Colored or bare, cut, torn, layered, pleated, or crumpled, they maintain their objecthood within the frame.

All these themes and techniques climaxed in his major Artist's Book, Alphavitos, later in the 1980s. Its many material and printing innovations are structured around the cumulative appearance of hand-made papers with letters of the Greek Alphabet recurring intermittently until the last bears the complete alphabet. The composition of complete and incomplete circles and squares on the front and back covers are in silver on the unique volume and in leather relief on the edition. The book incorporates endless ideas of form, color, scale, proportion and, of course, time, as the pages are turned. Related white wood, silver, and marble Reliefs grew out of the making of the book, as did new graphic variations of some of the plates. In 2011 he began a new series of Gold works. Small sculptures shaped with "incomplete" areas sit on bases, and framed works in gold-leafed Mylar and Tyvek hang in frames. As with the drawings, some have cut edges or various forms cut out of them or are crumpled. They are made in varying sizes, singly and in powerful series, and all have many different "faces" as they intersect with the course of natural light over the day. In Greece, they are seen as echoes of Byzantium.

In 2011, Antonakos took on a climactic project in the ruins of an old oil factory in Elefsina, Greece -- a part of the 40 year history of their Festival of Aeschylus. In thirty-four locations throughout the continuous indoor and outdoor site of 17,000 square meters, he placed spare linear neon forms, accumulations, columns, and Panels, hoping, he said, that the visitors might sense "some of the things that I have found in my life and art." It can be seen in the photographs of Panos Kokkinias and on the artist's website.

Antonakos had over 100 solo exhibitions and over 250 group shows. His work has been the subject of numerous books and catalogues including the key 1999 monograph Antonakos by Irving Sandler. The major catalogue for the 2007-2008 Retrospective organized by the J. F. Costopoulos Foundation at the Benaki Museum in Athens includes essays by Martin Filler, Eleftherios Iconomou, Katerina Koskina, Daniel Marzona, and Brian O'Doherty. His work is in the collections of the major museums of New York, Athens, and Thessaloniki, and in many other museums in the US and Europe. In 2011 he received the Lifetime Achievement Awards from the National Academy of Art and the Greek America Foundation.

Since 1963 his studio has been located in Soho.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Stephen Antonakos dated 1975, May 9.
Provenance:
The collection was donated in 1975 and 1981 by Stephen Antonakos, and in 2014 by Naomi Spector Antonakos.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival born-digital records with no duplicate access copy requires advance notice.
Rights:
The Stephen Antonakos papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Study and teaching  Search this
Neon sculpture  Search this
Sculptors -- New York (State) -- New York  Search this
Art critics  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sketchbooks
Drawings
Blueprints
Obituaries
Citation:
Stephen Antonakos papers, 1932-2014, bulk 1960-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.antostep
See more items in:
Stephen Antonakos papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-antostep

Wayne Andersen papers

Creator:
Andersen, Wayne V.  Search this
Names:
Ferber, Herbert, 1906-1991  Search this
Golub, Leon, 1922-2004  Search this
Lipton, Seymour, 1903-1986  Search this
Moore, Henry, 1898-1986  Search this
Schaefer-Simmern, Henry, 1896-  Search this
Smith, David, 1906-1965  Search this
Extent:
11.6 Linear feet ((partially microfilmed on 2 reels))
0.2 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1952-1994
Scope and Contents:
Primarily research material used for Andersen's book American Sculpture in Process, 1930-1970. Included are sculpture files, containing photographs and printed materials; writings and research notes; and 663 letters and ca. 50 statements of purpose from prominent American sculptors, among them Calvin Albert, Oliver Andrews, Leonard Baskin, Wolfgang Behl, Charles Biederman, Helen Beling, Harry Bertoia, Roger Bolomey, Lothar Brabant, Alexander Calder, Cosmo Campoli, Chryssa, Lindsey Decker, Jose de Rivera, Stephen DeStaebler, Nancy P. Dryfoos, Ted Egri, Herbert Ferber, Richard Filipowski, Francis Foster, Leon Golub, Florence Grippe, Peter Grippe, Dimitri Hadzi, Martha Hadzi, Tom Hardy, Wally Hendrick, Paul Keith, Robert Laurent, Pietro Lazzari, Israel Levitan, Jacques Lipchitz, Seymour Lipton, Jim Melchert, Joseph Messina, Henry Moore, G. W. Owen, Tony Padovano, Nathan Raisen, Richard Randell, George W. Rickey, Hugo Robus, John Rood, Bernard Rosenthal, Theodore Roszak, David Smith, George Spaventa, Takis, Michael Todd, Hugh Townley, Charles Umlauf, Vasa, David von Schlegell, Jane Wasey, and Elbert Weinberg. Also included are business correspondence and financial papers relating to Andersen's consulting work for the Boston Redevelopment Authority, E.A.T. (Experiments in Art and Technology), and the Federal Reserve Bank. A smaller set of papers consists of material relating to Andersen's longtime friend and mentor, art educator, philosopher, and artist Henry Schaefer-Simmern, including a questionnaire sent to Andersen from Raymond Berta along with his dissertation abstract on Schaefer-Simmern, 1988; correspondence, including letters from Schaefer-Simmern, 1952-1989; photos of art work admired by Schaefer-Simmern. Also included are clippings, and a keynote speech by Andersen, 1994, "A Global Revision of Historical Time."
Biographical / Historical:
Art historian, educator; Massachusetts. Born 1928.
Provenance:
Donated by Wayne Andersen, 1979 and 1994.
Restrictions:
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. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Topic:
Sculpture, Modern -- 20th century  Search this
Sculpture, American -- History -- Sources  Search this
Identifier:
AAA.andewayn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-andewayn

Millard Meiss Papers

Creator:
Meiss, Millard, 1904-1975  Search this
Names:
American Committee for the Restoration of Italian Monuments  Search this
College Art Association (U.S.)  Search this
Committee to Rescue Italian Art  Search this
Institute for Advanced Study (Princeton, N.J.)  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Princeton University  Search this
Gombrich, E. H. (Ernst Hans), 1909-2001  Search this
Lavin, Irving, 1927-  Search this
Nordenfalk, Carl Adam Johan, 1907-  Search this
Panofsky, Dora Mosse  Search this
Panofsky, Erwin, 1892-1968  Search this
Extent:
11.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1918-circa 1977
bulk 1950-1975
Summary:
The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.
Scope and Contents:
The papers of art historian, writer, and educator Millard Meiss measure 11.4 linear feet and date from circa 1918 to circa 1977, with the bulk of the material dating from 1950 to 1975. The papers are comprised of biographical material, correspondence, writing projects and lectures, and professional files that document his post World War II work as chairman of the American Committee for the Restoration of Italian Monuments, among other work.

Biographical material includes various awards and honorary degrees received; a bibliography of published and unpublished books, articles, essays, and editing projects by Meiss; memorial materials and obituaries for Meiss as well as for Dora and Erwin Panofsky (to whom he was close); and resumes and education materials among other files.

Correspondence is predominantly professional in nature and is with colleagues, peers, museums, and institutions. Some correspondents include Ernst Gombrich, Irving Lavin, Carl Nordenfalk, and Erwin Panofsky, among many others.

Writing project and lecture files document Meiss's work on numerous published and unpublished articles and book projects, and lectures. Books include The Boucicaut Hours, De Artibud Opscula XL: Essays on Erwin Panofsky, French Painting in the Time of Jean de Berry, and Painting in Florence and Siena, among many other works. Files contain manuscripts, notes, book proposals, reviews, correspondence, and clippings.

Professional files document the many committees, institutions, and organizations in which Meiss was involved, including the American Committee for the Restoration of Italian Monuments, Committee to Rescue Italian Art, and International Committee of the History of Art. Also included are general files on The Art Bulletin, College Art Association, Institute for Advanced Study, Metropolitan Museum of Art, and Princeton University, among others.
Arrangement:
This collection is arranged as 4 series:

Series 1: Biographical Material, circa 1918-circa 1977 (0.3 linear feet; Box 1)

Series 2: Correspondence, circa 1936-circa 1977 (4.3 linear feet; Boxes 1-5)

Series 3: Writings Projects and Lectures, circa 1934-circa 1975 (2.4 linear feet; Boxes 5-8)

Series 4: Professional Files, circa 1933-circa 1975 (4.4 linear feet; Boxes 8-12)
Biographical / Historical:
Millard Meiss (1904-1975) was an art historian and educator whose expertise was medieval and Renaissance art. He taught at Columbia University and Princeton, and was a curator at the Fogg Museum for four years. Following World War II, Meiss served as chairman of the American Committee for the Restoration of Italian Monuments until 1951.

Millard Meiss received a B. A. from Princeton University in 1926, and a Ph. D. from New York University in 1933. He was a professor of fine arts and archaeology at Columbia University from 1934-1953. In 1954, Meiss accepted the position of professor of fine arts and curator of paintings at the Fogg Art Museum at Harvard University. In 1958, he returned to Princeton, New Jersey to become professor of art history at the Institute for Advanced Study, where he remained for the rest of his career.

While at Columbia University, Meiss acted as editor-in-chief of The Art Bulletin, and also stayed on the editorial board for the next thirty-three years until his death in 1975. Throughout his career, Meiss edited several leading art journals, and wrote numerous articles and books on medieval and Renaissance painting, including Painting in Florence and Siena after the Black Death (1951), and his multi-volume French Painting in the Time of Jean de Berry (1967-1974), as well as many others.

In addition to serving as chairman of the American Committee for the Restoration of Italian Monuments after World War II, Meiss organized the Committee to Rescue Italian Art in 1966 after the flood of the Arno River in Italy. He worked to help organize the first meeting in the United States of the International Congress of the History of Art and served as president and vice-president. He was actively involved in the College Art Association of America.

Meiss was a member of many arts and scholarly organizations in Europe and the United States including the Accademia delle Arti del Disegno, Accademia Senese degli Intronati, Accademia Clementina, Accademia Toscana Colombaria, Accademia Nazionale dei Lincei, American Philosophical Society, British Academy, and the Société des Antiquaires de France. In addition, he was a Fellow of the Mediaeval Academy of America and the American Academy of Arts and Sciences, as well as an honorary trustee of the Metropolitan Museum of Art.

Meiss was also the recipient of many awards, including the Wanamaker English Prize, 1925; Haskins Medal from the Mediaeval Academy of America, 1953; Lewis Prize from the American Philosophical Society, 1967; Morey Award from the College Art Association of America, 1969, and posthumously in 1976; and the Art Dealers Association of America Award, 1974.
Provenance:
The Millard Meiss papers were donated to the archives in 1976 and 1986 by Meiss's widow Margaret L. Meiss.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Millard Meiss 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.
Occupation:
Educators -- New Jersey  Search this
Authors -- New Jersey  Search this
Topic:
Painting -- Italy  Search this
Painting -- France  Search this
Art historians -- New Jersey -- Princeton  Search this
Citation:
Millard Meiss papers, circa 1918-circa 1977, bulk 1950-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.meismill
See more items in:
Millard Meiss Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meismill

Dorothy Sturm papers

Creator:
Sturm, Dorothy, 1910-  Search this
Names:
Betty Parsons Gallery  Search this
Extent:
2 Linear feet
Type:
Collection descriptions
Archival materials
Sound recordings
Interviews
Date:
1913-1988
Scope and Contents:
Writings; letters received; photographs; a scrapbook; address books; audio cassettes; and printed material relate to Sturm's career as an artist, medical illustrator, and writer. Her longtime teaching career at the Memphis Academy of Arts is only briefly documented through teaching notes.
Letters received, 1955-1983, are primarily from the Betty Parsons Gallery regarding exhibitions and works sold. Writings by Sturm include several manuscripts of short stories, poems, a novel, "Tall Windows" written under ther pseudonym Wyn Evans, and 1 small binder of teaching notes. Writings by others include edited and final typescript by Marcus Orr, "The Art of Dorothy Sturm," and a book of poems by Sturm's mother. Files on Sturm's work as a medical illustrator contain photographs of Sturm's drawings, publications containing her work, and a few sketches.
Photographs are of Sturm and her work; a scrapbook contains photos and slides of work. Printed material, 1944-1988, consists of exhibition catalogs and announcements, clippings and publications containing Sturm's work. Also included are address books; an engagement diary, 1913, probably belonging to Sturm's mother; and 4 cassettes of interviews of Sturm discussing her work and reading her story, "My Grandfather's House."
Biographical / Historical:
Painter, enamelist, medical illustrator; Memphis, Tennessee. Died 1988. Taught at the Memphis Academy of Arts, 1938-late 1970s.
Provenance:
Donated 1991 by the Dorothy Sturm estate via Marvin Ratner, executor. Drawings received with the papers were transferred to the Memphis Brooks Museum of Art at the donor's request.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Authors -- Tennesseee -- Memphis  Search this
Enamelers -- Tennessee -- Memphis  Search this
Medical illustrators -- Tennessee -- Memphis  Search this
Topic:
Women artists -- Tennessee -- Memphis  Search this
Medical illustration  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.sturdoro
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sturdoro

Joseph Floch papers

Creator:
Floch, Joseph, 1895-1977  Search this
Names:
American Academy of Arts and Letters  Search this
Audubon Artists (New York, N.Y.)  Search this
Carnegie Institute  Search this
National Academy of Design (U.S.)  Search this
New School for Social Research (New York, N.Y.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Extent:
11.3 Linear feet
0.2 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Sketchbooks
Scrapbooks
Date:
[circa 1869-1981]
Scope and Contents:
Correspondence, printed material, sketchbooks, photographs, diaries, address books, business records, and exhibition materials.
An autobiography, biographical and genealogical information; Mimi Floch's memoir of her husband, 1980; circa 3,000 letters, some illustrated; a book of poems and writings; a diary, 1909-1974; appointment and address books; 2 transcripts of interviews; an untranscribed interview; writings and notes; an illustrated inventory of his works; business records; exhibition files; 45 sketchbooks of figure, landscape and still life studies, and sketches for his paintings; works of art by Floch and others; 2 scrapbooks of letters, telegrams, and clippings; exhibition catalogs; books; clippings and miscellaneous printed material; and circa 1,200 photographs, slides, and negatives of Floch his family, friends, exhibitions, and works of art.
Award certificates from the National Academy of Design and Columbia University; 2 appointment certificates to the faculty of the New School for Social Research; a list of his awards and appointments; 27 letters, from the National Academy of Design, Pennsylvania Academy of the Fine Arts, National Institute of Arts and Letters, Carnegie Institute, Audubon Artists, and museums in the U.S., Europe, and Israel.
REEL N69-66: Photographs of paintings by Floch.
REEL 88: Exhibition catalogs, announcements, and published articles on Floch.
ADDITION: Exhibition catalogs and clippings concerning Floch, circa 1942-1978.
Biographical / Historical:
Joseph Floch (1895-1977) was a painter from New York, N.Y., Vienna, Austria, and Paris, France.
Related Materials:
Joseph Floch papers also at Syracuse University.
Provenance:
Donated 1966-1983 by Joseph Floch; his wife, Mimi Hermine Floch; and their daughter, Jenny Floch Efland. Material on reel N69/51 was originally lent by Joseph, but donated in 1983 by Jenny. Additional printed material donated 1986 by Susi Friedmann, whose mother's cousin was married to Floch.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Painters -- Austria -- Vienna  Search this
Painters -- France -- Paris  Search this
Topic:
Painting, Modern -- 20th century -- Austria  Search this
Painting, Modern -- 20th century -- France  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Sketchbooks
Scrapbooks
Identifier:
AAA.flocjose
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-flocjose

William Dolan Fletcher papers

Creator:
Fletcher, William Dolan  Search this
Names:
Brockhurst, Gerald Leslie, 1890-1978  Search this
Castigan, John  Search this
Davis, Charles H. (Charles Harold), 1856-1933  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Gannett, Ruth Chrisman  Search this
Grant, Gordon, 1875-1962  Search this
Kent, Norman, 1903-1972  Search this
Kinney, Troy, 1871-1938  Search this
Leighton, Clare, 1899-  Search this
Moser, Barry  Search this
Ryder, Chauncey F., 1868-1949  Search this
Spruance, Benton, 1904-1967  Search this
Tittle, Walter, 1883-1966  Search this
Williams, Keith Shaw, 1905-1951  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1924-1986
Scope and Contents:
Notebooks compiled by Fletcher listing prints by artists John Castigan, John Flannagan, Ruth Gannett, Gordon Grant, Norman Kent, Troy Kinney, Clare Leighton, Barry Moser, Chauncey Ryder, Benton Spruance, Walter Tittle and Keith Shaw Williams; and research material on Gerald Leslie Brockhurst and Benton Spruance. Brockhurst material includes correspondence, biographical sketches, notes, lists of works, a draft of Fletcher's catalog Complex Simplicity: Gerald Leslie Brockhurst and his Graphic Work, printed material, reproductions and photographs of work, and photographs of Brockhurst, his models and others;
the Spruance material includes an obituary, 2 letters to Spruance from Carl Zigrosser, 1934, and letters between others regarding the sale of his prints; a typescript by Fletcher, "In My Orb of Gold: The Life and Work of Benton Spruance," 1980; writings by Spruance; printed material, 1929-1986, including exhibition catalogs and announcements, newspaper clippings, and other printed material; and photographs of Spruance and his works of art.
Biographical / Historical:
Priest, art historian; Connecticut. Taught at Sacred Heart University in Fairfield, Connecticut. Author of a catalog raisonne on Gerald Leslie Brockhurst's etchings.
Provenance:
Donated 1990 James J. Gentile, a friend of Fletcher, and executor of his estate. The material on Benton Spruance was donated by Robert M. Vogel, 1991, who received it from Fletcher's estate; the notebook on Keith Shaw Williams was donated by William Greenbaum, 1991, who also received it from Fletcher's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Art teachers  Search this
Etchers  Search this
Printmakers  Search this
Priests  Search this
Topic:
Painting, American  Search this
Prints, American  Search this
Identifier:
AAA.fletwill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fletwill

James Fitzgerald papers

Creator:
Fitzgerald, James, 1899-1971  Search this
Names:
Hennig, Calvin  Search this
Hubert, Anne, 1909-2004  Search this
Hubert, Edgar, 1909-1994  Search this
Kent, Rockwell, 1882-1971  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Slides (photographs)
Sketchbooks
Drawings
Scrapbooks
Photographs
Video recordings
Place:
Monhegan Island (Me.)
Date:
1905-1992
Summary:
The papers of painter James Fitzgerald measure 4.6 linear feet and date from 1905 to 1992. Found within the papers are biographical materials; personal and business correspondence, including fifty-one letters from Rockwell Kent; personal business records; writings; artwork consisting of drawings and 21 sketchbooks; printed material, including a scrapbook of clippings and catalogs; and photographs of Fitzgerald, his family and friends, and his work.
Scope and Contents:
The papers of painter James Fitzgerald measure 4.6 linear feet and date from 1905 to 1992. Found within the papers are biographical materials; personal and business correspondence, including fifty-one letters from Rockwell Kent; personal business records; writings; artwork consisting of drawings and 21 sketchbooks; printed material, including a scrapbook of clippings and catalogs; and photographs of Fitzgerald, his family and friends, and his work.

Biographical materials include certificates, military records, and identification cards and passports. Correspondence is with collectors and friends, including Monhegan residents Anne and Edgar Hubert, Grace Sullivan, and Rockwell Kent. Personal business records include banking, tax, and estate records. Writings consist of Fitzgerald's notebook and notes, essays and recollections of Fitzgerald by friends, and Calvin Hennig's notes on a 1984 posthumous exhibition catalog.

There are loose drawings and 21 sketchbooks of Fitzgerald's artwork. Printed material includes clippings, a clippings scrapbook, exhibition catalogs, and a five-minute video recording describing the holdings of Anne and Edgar Hubert's Fitzgerald art collection. Photographs are of Fitzgerald, his friends and family, residents, travel snapshots, and photographs and slides of his artwork.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1918-1971 (2 folders; Boxes 1, 5)

Series 2: Correspondence, 1934-1987 (1.3 linear feet; Boxes 1-2)

Series 3: Personal Business Records, 1948-1972 (0.5 linear feet; Box 2)

Series 4: Writings, 1955-1988 (1.2 linear feet; Boxes 2-3, 5)

Series 5: Artwork, 1930-1969 (1.1 linear feet; Boxes 4-6)

Series 6: Printed Material, 1923-1989 (0.2 linear feet; Box 4)

Series 7: Photographic Material, 1905-1992 (0.3 linear feet; Box 4)
Biographical / Historical:
Painter James Fitzgerald (1899-1971) lived and worked in Monterey, California and Monhegan, Maine and is known for his watercolors of seascapes, animals, and nature.

Born in Milton, Massachusetts, Fitzgerald studied from 1919 to 1923 at the Massachusetts School of Art and from 1923 to 1924 at the Boston Museum of Fine Arts School with Philip Hale, Leslie P. Thompson, and Edmund C. Tarbell. From 1923 to 1928, Fitzgerald took a break from his art studies to travel, sailing and crewing on fishing ships and freighters on the coasts of northern America. During a trip along the West coast in 1928, his travels brought him to Monterey, California where he established a studio and met and became associated with a group including John Cage, Martha Graham, E. F. Ricketts, and John Steinbeck.

From 1936 to 1942, Fitzgerald taught painting in California, then sold his studio the following year to settle in the artists' colony at Monhegan, Maine, which he had first visited in 1923. From 1944 to 1971, Fitzgerald made annual trips to Mt. Katahdin and also formed friendships with other Monhegan residents, including Rockwell Kent and Anne and Edgar Hubert. Fitzgerald died suddenly on the Irish island of Arranmore Ireland, where he had traveled to paint in 1971.
Provenance:
The papers were donated in 1991 by Fitzgerald's literary executors, Anne and Edgar Hubert. Two additional sketchbooks were donated in 2014 by the chairman of the James Fitzgerald Legacy, Robert L. Stahl.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The James Fitzgerald 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.
Occupation:
Marine painters -- California -- Monterey  Search this
Marine painters -- Maine -- Monhegan  Search this
Painters -- California -- Monterey  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Painters -- Maine  Search this
Art -- Collectors and collecting  Search this
Artist colonies  Search this
Genre/Form:
Slides (photographs)
Sketchbooks
Drawings
Scrapbooks
Photographs
Video recordings
Citation:
James Fitzgerald papers, 1905-1992. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fitzjame
See more items in:
James Fitzgerald papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fitzjame

Creative art expression and appreciation : a method of developing student ability ... a way to bridge the interval between student and professional approach / by Gladys Kelley Fitch

Creator:
Fitch, Gladys Kelley, b. 1896  Search this
Names:
Fanning, Winifred  Search this
Extent:
13 Pages
Type:
Collection descriptions
Archival materials
Pages
Date:
c1937
Contents:
Field of decoration / Human relation / A plea for creative Youth / Approach through technique
Biographical / Historical:
Gladys Kelley Fitch was a painter and teacher, Montclair, N.J. and Lyme, Conn.
General:
Pencil sketch of woman on back cover, attributed by donor to Winifred Fanning, and "not (?) of or by Gladys Fitch."
Provenance:
Donated 1998 by Michael McGrory, who, as executor of the estate of Winifred Fanning, found it among Fanning's belongings.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Art teachers  Search this
Identifier:
AAA.fitcglad
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fitcglad

Mildred Burrage, Janet Sharon Johnston Farr, and William Johnston [graphic]

Creator:
Farr, Janet Sharon Johnston  Search this
Names:
Burrage, Mildred Giddings, 1890-1983  Search this
Johnston, William  Search this
Extent:
1 Photographic print (b&w, 4 x 5 in.)
Type:
Collection descriptions
Archival materials
Photographic prints
Date:
1920
Scope and Contents:
Photograph of painter and arts patron Mildred Burrage with family friend Janet Sharon Johnston (Farr) and her brother, William Johnston, in Kittery, Maine.
Provenance:
Donated 1993 by Janet Sharon Johnston Farr, whose parents were friends of Mildred Burrage.
Restrictions:
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. Contact Reference Services for more information.
Topic:
Painters -- Maine -- Photographs  Search this
Identifier:
AAA.farrjane
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-farrjane

Harriet FeBland papers

Creator:
FeBland, Harriet  Search this
Names:
American Society of Contemporary Artists (New York, N.Y.)  Search this
Artists Equity Association  Search this
Extent:
0.4 Linear feet
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1958-2003
Scope and Contents:
Printed material and photographs documenting FeBland's career as a sculptor, painter, printmaker, and instructor. Included are artist statements, resumes, exhibition catalogs, announcements, reviews, and press releases for both group and individual shows; exhibition announcements and class schedules for Harriet FeBland Art Workshop; printed material from arts associations in which FeBland was a member, including the American Society of Contemporary Artists, PROTO-V, and the Artist Equity Association; and one small album of color snapshots of installation views of FeBland's 20 Year Retrospective in 1963 at the Hudson River Museum, Yonkers, NY.
Biographical / Historical:
Painter, sculptor, and printmaker; New York, N.Y.
Provenance:
Donated 1983, 1988, 2000 and 2003 by Harriet FeBland.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Sculptors -- New York (State) -- New York  Search this
Topic:
Women artists -- New York (State) -- New York  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Identifier:
AAA.feblharr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-feblharr

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