5 Linear feet ((partially microfilmed on 3 reels))
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1815-1980
Scope and Contents:
Correspondence; scrapbooks and diaries; writings; photographs; medals; passport; engagement calendars; and printed material.
REEL 1344: Letters, 1931-1977, from John Taylor Arms, George Biddle, Mario Bacchelli, Ralston Crawford, Joseph Hirsch, Norman Kent, Leon Kroll, Ezra Pound, Maxfield Parrish, Emilio Sanchez, Barbara and Katherine Ivins, and others. Also included is a photograph of a 1961 poster exhibition, a lecture announcement and Mayor's lecture schedule, writings, and miscellany.
REEL 2322: Ten volumes, 1917-1927, composed while traveling and studying, mostly in Europe. Six volumes contain postcards of architecture and art, a few photos, and typescripts and transcripts of letters to Mayor's grandmother "Minn" [Andella Hyatt], and to "Aunt Anna" [Anna Hyatt Huntington]. He writes about his studies, daily activities, friends, and others, including Bernhard Berenson at i Tatti. Three volumes are diaries written while in Florence, Italy, 1924-1925, Europe, 1925, and Egypt, 1927; and one volume contains reminiscenses of Leon Kroll and Maurice Sachs.
REEL 2336: 20 letters from Mayor to his wife from Spain, 1959, and Europe, 1966; an annotated, 99-page manuscript by Mayor, "The Mutations of Greece"; a travel diary, 1927; and a copy of MAGAZINE OF ART, 1952, with an article by Mayor, "Writing and Painting in China."
UNMICROFILMED: Papers, 1815-1980, including: a passport, 1949-1953; engagement calendars, 1966-1979; personal and business correspondence, 1911-1979; letters to Eliza Cadwell Blackwell (Mayor) from Francis Blackwell, 1815-1819; photographs of Mayor, his family and others, and negatives; published and unpublished writings by Mayor including handwritten notes, typescripts of lectures, galley proofs and newsletters containing articles by Mayor; 3 medals awarded to Francis Blackwell Mayor, 1852-1855; A. Hyatt Mayor's degree from Princeton, 1922, and a citation from the Museum of Fine Arts, Boston, 1971; printed material concerning Mayor's aunt, Anna Hyatt Huntington, catalogs, clippings; and miscellany.
Among the photos are: 4 cased daguerreotypes, 1 cased ambrotype, and 11 tintypes, including one taken by Moffett & Sheldon, Newark, N.J., 2 possibly of Alfred G. Mayor, ca. 1868, 1 of Alfred G. Mayor, ca. 1880, and 2 of Joseph Henry Mayor, ca. May 26, 1880.
ADDITION: Manuscripts and writings.
Biographical / Historical:
A. Hyatt Mayor (1901-1980) was a museum curator, art historian, and writer, from New York, N.Y. Former curator of prints at the Metropolitan Museum of Art.
Related Materials:
A. Hyatt Mayor Papers, 1904-1946, are located at Syracuse University Libraries Special Collections Research Center.
Provenance:
Material on reel 1344 was lent for microfilming 1977-1978 by A. Hyatt Mayor; a portion was subsequently donated 1980-1981 by Virginia Mayor, his widow, along with additional (unmicrofilmed) material. Material on reels 2322 & 2336 lent for microfilming 1981 by Martha Smith, Mayor's daughter. An additional group of manuscripts and writings was received in 1985 from the Metropolitan Museum of Art, which had borrowed the material from Mrs. Mayor and returned it to AAA at her request.
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 -- New York (State) -- New York Search this
Art historians -- New York (State) -- New York Search this
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, cataloges, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.
Scope and Content Note:
The papers of painter Abraham Walkowitz date from 1904-1969, and measure 2.9 linear feet. Found within the papers are biographical material; letters from artists, friends, and art collectors; business records; four interview transcripts; notes and writings; exhibition announcements, catalogs, and other printed material; and photographs of Walkowitz, friends, colleagues, and artworks.
Biographical material consists of autobiographical notes, a citizenship certificate, membership and registration cards, medical records, and address books.
Letters, with scattered responses from Walkowitz, are primarily from colleagues including artists John Taylor Arms, George Biddle, Paula Eliasoph, Ivan G. Olinsky, Walter Pach, Alfred Stieglitz, Carl Van Vechten, and Max Weber, Boston art collector Louis Schapiro, publisher E. Haldeman-Julius, writer Horace Traubel, and dancers Elizabeth Duncan and Maria-Theresa Duncan, the sister and adopted daughter of Isadora Duncan respectively. Individual letters are primarily from the diverse group of notable people to whom Walkowitz had sent copies of his books. Also found are letters from art organizations and museums.
Business records consist of documents concerning the will of art collector George M. Dunaif, letters of acknowledgement of gifts of art work donated by Walkowitz to various museums, and miscellaneous financial material. Transcripts are of three interviews with Walkowitz and an interview with Walkowitz and Frank Kleinholz. Notes and writings include lists of names, addresses, and art work, miscellaneous lecture notes, and writings by Walkowitz and by others. Printed material consists of clippings, exhibition announcements and catalogs, reproductions of art work, and books by Walkowitz, and by Walkowitz and E. Haldeman-Julius.
The photographs series contains the most significant material in the collection. The majority of photographs are of Abraham Walkowitz, taken by many notable photographers including Arnold Genthe, Lotte Jacobi, Arnold Newman, Alfredo Valente, Carl Van Vechten, and Clarence White. Also found are photographs of friends and colleagues, as well as photographs of art work by Walkowitz and others.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Material 1906-1944 (Box 1, 5; 8 folders)
Series 2: Correspondence, 1906-1966 (Box 1; 0.8 linear feet)
Series 3: Business Records, 1930-1956 (Box 1; 5 folders)
Series 4: Interview Transcripts, 1944-1958 (Box 1; 5 folders)
Series 5: Notes and Writings, 1904-1949 (Box 1-2; 26 folders)
Series 6: Printed Material, 1910-1969 (Box 2, 5; 0.8 linear feet)
Series 7: Photographs, 1904-1958 (Box 2-5; 0.9 linear feet)
Biographical Note:
Abraham Walkowitz (1878-1965) was a painter in Brooklyn, New York. Walkowitz was born in Tumen in Siberian Russia, the son of Jacob and Rita Schulman Walkowitz. Following the death of his father, a lay rabbi and cantor, in the late 1880s, Walkowitz immigrated to the United States with his mother and siblings and settled in the Lower East Side of New York City.
Walkowitz began his study of art at the Educational Alliance, at Cooper Union, and at the National Academy of Design. In early adulthood he worked as a sign painter and taught at the Educational Alliance from 1900 to 1906. He managed to save enough for passage to Paris where he continued his studies at the Académie Julian under Academic painter Jean-Paul Laurens. During this time, Walkowitz met Max Weber who introduced him to Matisse, Picasso, and Gertrude and Leo Stein. They exerted a considerable influence on Walkowitz's artistic development toward abstraction. Weber also introduced him to Isadora Duncan, whose style of improvisational dance inspired Walkowitz to create over 5,000 drawings and watercolors of her dancing form over the next four decades.
Walkowitz returned to New York in 1907 and laid claim to being the first to exhibit truly Modernist paintings in the United States with his exhibition at the Haas Gallery in 1908. After 1909, he became an intimate of Alfred Stieglitz's 291 Gallery where he became a regular exhibitor along with Arthur Dove, Marsden Hartley, and John Marin, among others. Walkowitz's work appeared in landmark avant-garde exhibitions including the 1913 Armory Show, the Forum Exhibition of 1916, the People's Art Guild showings of contemporary art from 1915-1917, and the inaugural show of the Société Anonyme in 1920.
When interest in the Modernist movement diminished during the 1930s, Walkowitz's career also diminished, but he continued as an avid member and officer in the Society of Independent Artists. In the mid-1940s, he explored the varieties of the modernist vision in the form of an exhibition of 100 portraits of Walkowitz by 100 artist colleagues. The result was widely discussed and was featured in Life magazine in 1944. In 1945, Walkowitz travelled to Kansas to reunite with his colleague, E. Haldeman-Julius, to publish in a series of books concerning Walkowitz's art work. He also executed a series of drawings of the barns and strip mines in the area. But by 1946, glaucoma had begun to impair Walkowitz's vision, leading to his eventual blindness. Also in the mid-1940s, Walkowitz lost the contents of his studio to fire.
In 1963, Walkowitz received the Marjory Peabody Award of the National Institute of Arts and Letters. His work is represented in the collections of the Newark Museum, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston.
Abraham Walkowitz died on January 26, 1965 in Brooklyn, New York.
Related Material:
Also found at the Archives of American Art is an oral history interview of Abraham Walkowitz conducted by Abram Lerner and Mary Bartlett Cowdrey, December 8 and 22, 1958.
Provenance:
Portions of the papers were donated in 1959 by Abraham Walkowitz; in 1966 by Dr. Rosa E. Prigosen, the artist's niece; in 1981 through a transfer of material from the National Museum of American Art/National Portrait Gallery Library; and in 1996 by Howard and Lila Schulman.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York Search this
2 Microfilm reels (2 linear feet on 2 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1903-1947
Scope and Contents:
The microfilmed Albert Winslow Barker selected papers contain biographical information, including resumes and a typescript by Barker's wife; correspondence with his publisher and dealer, Elizabeth Whitmore; correspondence with Bolton Brown, John Taylor Arms, Albert Fowler, print societies, and suppliers; letters regarding exhibitions; a manuscript on lithography; notes on a course with Brown; clippings; photographs; drawings; and information on the Bolton Brown memorial exhibition organized by Barker.
Biographical / Historical:
Albert Winslow Barker (1874-1947) was a lithographer and educator in Pennsylvania. Born in Chicago, Barker studied at the Pennsylvania Academy of Fine Arts before teaching at the School of Industrial Arts in Philadelphia. In 1913 he enrolled at Haverford College and earned his A.B. before earning his Ph.D. in Classical Greek from the University of Pennsylvania in 1921. From 1921 to 1929 he served as the Director of Art Education in the Public School District of Wilmington, Delaware. In 1927 Barker studied with lithographer Bolton Brown. Barker devoted the rest of his artistic career to lithography, producing over 200 works.
Related Materials:
Bryn Mawr College Special Collections holds the Elizabeth Barker and Agnes Davis collection of the papers of Albert Winslow Barker, 1888-1982.
Provenance:
Collection was donated to Bryn Mawr College by Elizabeth Barker and Agnes Davis, daughters of Barker. Microiflmed 1986 as part of Archives of American Arts' Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
5 Microfilm reels (800 items on 5 microfilm reels)
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1864-1942
Scope and Contents:
The microfilmed American Academy of Arts and Letters records consist of artists' papers containing correspondence, notes, biographical material, exhibition catalogs, and other published material. Included is a volume of notes, drawings, and calculations made by George Bellows for a study of Jay Hambidge's theory of Dynamic Symmetry, as well as correspondence and biographical and critical material on George de Forest Brush, Childe Hassam, Francis D. Millet, Joseph Pennell, Elihu Vedder, and J. Q. A. Ward. The Hassam papers include letters from John Taylor arms, E. H. Blashfield, William Merritt Chase, Royal Cortissoz, J. Alden Weir, and Charles Erskine Scott Wood. All groups contain official Academy correspondence from its secretary Robert Underwood Johnson.
Biographical / Historical:
The American Academy of Arts and Letters is an honor society in New York comprised of artists, writers, architects, and composers. The Academy was created in 1904 by members of the National Institute of Arts and modeled on the Académie française. The Academy of Arts and Letters and the National Institute of Arts and letters merged on December 30, 1976.
Provenance:
Lent to the Archives of American Art for microfilming in 1965. This is a collection of miscellaneous papers representing a gathering over the years of unsolicited documentary resources on American art given or addressed to the Academy.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Function:
Arts organizations -- New York (State)
Learned institutions and societies -- United States
Minutes of board meetings, correspondence, committee papers, financial records, etc. Correspondents include John Taylor Arms, Gifford Beal, A. F. Brinckerhoff, Cornelia Chapin, Allyn Cox, Arthur Crisp, Alfred Geiffert, Jr., Hugo Gellert, Nils Hogner, Jan Juta, Joseph Leboit, Julian Clarence Levi, Paul Manship, Hobart Nichols, Nathaniel Pousette-Dart, Edward Steese, Bianca Todd, and Ralph T. Walker.
Biographical / Historical:
Based in New York, N.Y., 1942-1946. This organization was formed by artists who desired to assist in the war effort by using their artistic abilities. Activities included a war poster competition, British-American goodwill exhibition, sponsoring portrait drawings, demonstrations of arts and crafts, and instruction in military hospitals. Officers include Paul Manship, John Taylor Arms, Arthur Crisp, Ralph T. Walker, Hobart Nichols, Hugo Gellert.
Provenance:
Donated 1965 by Helen Treadwell.
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.
The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
Scope and Contents:
The records of New York based Audubon Artists, a national exhibiting organization of painters, sculptors, and graphic artists, measure 6.7 linear feet and date from 1944-2001. The collection documents the organization's adoption of its constitution and first major expansion in the mid-1940s, and its subsequent growth to the present day. The records include correspondence with artist members, administrative files, exhibition files, financial records, printed material including an almost complete run of annual exhibition catalogs and prospectuses, and photographs of artwork, juries, and other groups involved in the annual exhibitions from the 1970s to 1999.
Administration and correspondence files document all aspects of the organization's activities and include founding documents; records of individual officers including presidents Domenico Facci, Joseph Domareki, Mark Freeman, Hughie Lee-Smith, Renee McKay and Frederic Whitaker, and historians Michael Engel and Jan Gary; correspondence with members and prospective members including artists such as John Taylor Arms, Thomas Hart Benton, Peter Blume, Stuart Davis, Walt Disney, Lyonel Feininger, Malvina Hoffman, William Meyerowitz, Henry Varnum Poor, Stow Wengenroth, and Stark Young; agenda, meeting minutes and reports to the Executive Board; and the correspondence and related records of various committees.
Exhibition files document a variety of activities related to exhibition planning, and include correspondence, entry forms, information on juries and awards, and lists of selected artwork and award winners.
Financial records include scattered treasurer correspondence and notes, records of bills paid, and some reports, investment and tax records from the 1960s-1990s.
Printed material includes an early brochure issued in 1944, and a brochure on the organization's history by Jan Gary, as well as annual exhibition catalogs and/or prospectuses from 1944 to 2000.
Photographic material consists of copy prints and negatives of photographic material used in the annual exhibition catalogs, including photos of artwork, juries and scattered exhibition installations.
Arrangement:
Before processing, much of the collection was unsorted, and there was little indication of original record keeping practices for a large portion of the material. Some of the earlier material from the 1940s had been sorted by name or activity and where possible this arrangement has been maintained. Researcherss should be aware, however, that similar types of material such as correspondence, financial, and administrative records, can be found in various places throughout the collection, particularly throughout Series 1. The collection is arranged as 5 series.
Missing Title
Series 1: Administration and Correspondence Files, 1944-2000 (2.43 linear feet; Boxes 1-3, OV 9)
Series 2: Exhibition Files, 1944-1999 (0.67 linear feet; Box 3)
Series 3: Financial Records, 1962-1999 (0.5 linear feet; Box 4)
Series 4: Printed Material, 1944-2001 (1.7 linear feet; Boxes 4-6)
Series 5: Photographic Material, circa 1969-1999 (0.9 linear feet; Boxes 6-8)
Biographical / Historical:
Audubon Artists, a national exhibiting society of painters, sculptors, and graphic artists, was founded in New York, New York, in 1940. The organization took its name from the homestead of John James Audubon where it met in December, 1941, to discuss a less regional name than the one it had initially adopted: Professional Arts Group of Washington Heights. The group's association with Audubon, however, begins and ends with the name.
Audubon Artists held its first exhibition at 8th Street Gallery in Apri-May, 1942, with an exhibiting group of 22 members. In 1943 the group was able to attract a wider pool of recognized professional artists, and by 1944 the membership had increased to 60 and the organization issued its first annual exhibition catalog with the newly adopted eagle and palette emblem.
A reorganization meeting took place on March 27, 1944, to address the growing responsibilities for the annual exhibition. President Frederic Whitaker subsequently oversaw the creation of the original consitution, the credo and the 1946 incorporation of the organization, and led a membership campaign designed to attract nationally renowned artists of various aesthetic persuasions and gain the organization more prestige.
Since then, Audubon Artists has continued to hold an annual exhibition in a variety of locations throughout New York City, including the National Academy of Design, National Arts Club, and the Salmagundi Club. The latter has been the exhibition's preferred home since 1997, and with circa 350 members Audubon Artists remains a thriving organization dedicated to "artistic progress" today.
Provenance:
The records were donated by Audubon Artists in 1978 (via Mark Freeman, president) and 2001 (via David Pena, president).
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 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.
Correspondence with W. King Ambler, John Taylor Arms, Jerry Bywaters, Doel Reed, James Swann, Maynard Walker, and print and art societies; a career resume and other biographical material; price lists of prints; a scrapbook containing clippings; exhibition catalogs and invitations.
Biographical / Historical:
Etcher, printmaker, and art instructor, Fort Worth, Tex.; b. 1895; d. 1970 Attended Pennsylvania Academy of Fine Arts, Chicago Art Institute, Washington University in St. Louis, and the Art Students League. Works reproduced in newspapers and magazines. Founded Fort Worth School of Fine Arts.
Provenance:
Loaned by Judy McVeigh Cordell, McVeigh's niece.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Included are extensive memoirs of William Henry Fox director of the museum for over 25 years; scattered records of the Brooklyn Institute, 1823-1873; catalogs for Brooklyn Museum exhibits (4 1/2 reels) and for exhibits held in various galleries and museums, primarily in N.Y. (14 reels); brief records of the Dept. of Painting and Sculpture primarily relating to Gilbert Stuart's portrait of George Washington; records of the Dept. of Prints and Drawings, mainly regarding exhibitions, including correspondence, much of it with curator Una Johnson, correspondence with art dealers, files on artists, and statistics on exhibitions, 1936-1939; and records of the Registrar's office, 1933-1936, regarding the museum's involvement in the Federal Art Project of the Works Progress Administration, mainly the Graphic Arts Division.
Dept. of Prints & Drawings artists files relate to: Grace Albee, Josef Albers, Glen Alps, Maxil Ballinger, Leonard Baskin, Wilfred Roloff Beny, Fiske Boyd, Robert Broner, Edmond Casarella, Minna Citron, Robert Conover, Worden Day, Arthur Deshaies, Werner Drewes, Antonio Frasconi, Leon Goldin, William Gropper, Stanley William Hayter, Helen West Heller, Margo Hoff, John Paul Jones, Misch Kohn, David Lang, Ezio Martinelli, Seong Moy, Danny Pierce, Rudolph Pozzatti, Peter Sager, Louis Schanker, Karl Schrag, Susanne Suba, Maltby Sykes, Peter Takal, John Von Wicht, Sylvia Wald, Hyman Warsager, Max Weber, Toshi Yoshida, Richard Zoellner, and others.
Other correspondents of note (reels BR21-22) include John Taylor Arms, Mary Cassatt (1 letter, 1903), George Overbury "Pop" Hart, Mrs. Gaston Lachaise, Joseph Pennell (re Whistler), and a group from art dealers.
Also included are papers of and related to Austrian artist Emil Fuchs, including letters regarding commissions, a list of books and prints, and miscellany.
Biographical / Historical:
The Brooklyn Museum had its roots in the Brooklyn Institute of Arts and Sciences, founded 1823. The Museum was formed in 1889.
Provenance:
Lent for microfilming 1964-1965 by Brooklyn Museum.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. Contact Reference Services for more information.
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.
Reel N69-70: Biographical information; "The windows of St. Paul, Worchester, Mass.," an article by Leighton; notes and jottings for her writings, 1939-1967; correpondence with galleries, museums, art organizations, artists, writers, businesses, colleges and universities, and personal friends; photographs; and scrapbooks, 1939-1948.
Reel N69-71: Scrapbooks, 1939-1948, and sketchbooks.
Reel N69-91: An alphabetical listing of correspondence including John Taylor Arms, Macmillam and Co. Publishers, and Leon Kroll; a chronological list of wood engravings; a 2 page essay entitled "Wood Engraving," 1936; and sketches.
Biographical / Historical:
Engraver and writer; born in London, England. Came to the United States in 1939 and became an American citizen in 1945. In addition to membership in the Royal Society of Painters, Etchers and Engravers, London, she was awarded an honorary Doctor of Fine Arts by Colby College, Maine.
Provenance:
Lent for microfilming 1969 by Clare Leighton.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Destroyers in Wet Basin at Federal Shipbuilding and Drydock Company, South Kearney, J. J. - U.S.S. Radnor, Quick, Mervine - 1942 [graphic arts] / (photographed by Peter A. Juley & Son)
Destroyers in Wet Basin at Federal Shipbuilding and Drydock Company, South Kearney, J. J. - U.S.S. Radnor, Quick, Mervine - 1942 [graphic arts] / (photographed by Peter A. Juley & Son)
