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William Cushing Loring papers, 1899-1961

Creator:
Loring, William Cushing, 1879-  Search this
Subject:
Loring, Robert  Search this
Loring, Stanton D.  Search this
Loring, Helen  Search this
Loring, Elizabeth  Search this
Alma-Tadema, Lawrence, Sir  Search this
Millet, Francis Davis  Search this
Sargent, John Singer  Search this
Chickering, Elmer  Search this
National Gallery  Search this
Musée du Louvre  Search this
Rhode Island School of Design  Search this
Type:
Sketches
Paintings
Photographs
Illustrated letters
Topic:
Expatriate painters -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Expatriate artists -- England -- London  Search this
Artists' studios -- France -- Paris -- Photographs  Search this
Art -- Study and teaching -- England -- London  Search this
Educators -- United States  Search this
Painters -- Massachusetts  Search this
Record number:
(DSI-AAA_CollID)5957
(DSI-AAA_SIRISBib)208801
AAA_collcode_loriwill
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208801
Online Media:

Miriam Beerman papers

Creator:
Beerman, Miriam  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Date:
circa 1942-2006
Scope and Contents:
Biographical material, correspondence, writings, photographs, works of art, printed material, and videos pertaining to Miriam Beerman's career as a painter and printmaker.
Biographical material incudes curriculum vitae, an artist statement, and diplomas. Correspondence includes professional and personal letters including Beerman's letters to her parents when she was a student in Paris, France. Artwork includes sketches and notebooks by Beerman. Photographs are of Beerman. Exhibition records consist of loan agreement forms and exhibition checklists. Printed material includes exhibition announcements, catalogs and posters. Also included are a U-Matic video "Miriam Beerman: Drawings, Prints, Collage," 1983, 4:02 and two DVDs of artists' books by Beerman: "Three Sentences Beginning with the Letter S" [featuring poems by Halvard Johnson and others], 2006 and "Washing the Corpse" [poem by Rainer Maria Rilke], 2006, narrated by Beerman.
Biographical / Historical:
Miriam Beerman (1923- ) is a painter and printmaker in Upper Montclair, New Jersey.
Provenance:
Donated 2005-2009 by Miriam Beerman and in 2015 by WIlliam Jaffe, Beerman's son.
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:
All works of art and images of works of art: The donor retains all intellectual property rights, including copyright, that they may own.
Occupation:
Painters -- New Jersey  Search this
Printmakers -- New Jersey  Search this
Topic:
Women artists -- New Jersey  Search this
Women painters -- New Jersey  Search this
Women printmakers  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Video recordings
Identifier:
AAA.beermiri
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-beermiri

A.G. (Abel George) Warshawsky papers

Creator:
Warshawsky, A. G. (Abel G.), 1883-1962  Search this
Names:
Warshawsky, Ruth  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketches
Scrapbooks
Sketchbooks
Photograph albums
Prints
Photographs
Place:
Paris (France)
Date:
circa 1900-1988
Summary:
The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. the papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.
Scope and Contents:
The papers of A.G. (Abel George) Warshawsky date from circa 1900 to 1988 and measure 3.8 linear feet. The papers contain biographical materials; scattered correspondence, most of which consists of letters from Warshawsky to his wife Ruth; writings, including versions of Warshawsky's autobiography; printed materials; two scrapbooks; photographs and eight photo albums; twenty-six sketchbooks; and artworks by Warshawsky and others.

Biographical materials consist of passports, an identification card, and a Who's Who entry. Correspondence is scattered and contains letters written by A.G. Warshawsky to his wife Ruth. There are also telegrams of congratulations for the Warshawskys' 1941 marriage and a few letters from museums and institutions regarding Warshawsky's art.

Writings and notes include three versions of Warshawsky's autobiography entitled: "My Brush with Life," "Adventures with Color and Brush," and "Warshawsky's Autobiography." The autobiography concerns his life in Paris, activities, and acquaintances as a young art student in Paris. Also found are other writings about art and a notebook.

Printed material includes exhibition catalogs, xeroxed copies of news clippings and a clippings file concerning Warshawsky's career, published material, and reproductions of works of art. Also found is a printed portfolio comprised of an introduction to Warshawsky and reproductions of his paintings.

There is one original and one xeroxed scrapbook, containing news clippings, and exhibition materials from 1913 to 1960.

Photographs includes eight photo albums and photographs of Warshawsky, of family and friends, and of works of art. The bulk of the photo albums contain photographs of works of art. Two photo albums consist of personal photos of Warshawsky and his wife Ruth in their home in California. Other photographs are of Warshawsky painting in his studio, with his art, and of his wife, family, friends, and artist models.

Twenty-six sketchbooks are primarily in pencil and are undated or unidentified. Some sketchbooks include place names such as Monterey and Carmel, California, Mexico, and Paris.

Additional artwork includes loose sketches and a print by Warshawsky. Also found are prints and drawings by others, including Goya, Edwin Kaufman, and Paul de Lassence.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Material, 1923-circa 1940 (3 folders; Box 1)

Series 2: Correspondence, 1941-1964 (4 folders; Box 1)

Series 3: Writings and Notes, circa 1930-circa 1950 (0.4 linear feet; Box 1)

Series 4: Printed Material, 1920-1964 (0.2 linear feet; Box 1, 6, OV 12)

Series 5: Scrapbooks, 1913-1960 (0.3 linear feet; Box 1, 9)

Series 6: Photographs, circa 1910-1988 (1.4 linear feet; Box 1-2, 5, 7-8, OV 10)

Series 7: Sketchbooks, circa 1910-circa 1950 (1.0 linear feet; Box 2-3, 5-6)

Series 8: Artwork, circa 1900-1951 (0.5 linear feet; Box 3-5, OV 11)
Biographical / Historical:
Impressionist painter A.G. Warshawsky (1883-1962) was active in Paris and Monterey, California.

Abel George "Buck" Warshawsky was born in Sharon, Pennsylvania in 1883. He spent his childhood in Cleveland, Ohio where he studied at the Cleveland Art Institute. Warshawsky moved to New York where he studied at the Art Students League and the National Academy of Design. His brother, Alexander also became an artist.

In 1909, Abel Warshawsky left the U.S. for Paris where he remained for thirty years. There, he developed his unique style, combining Impressionism and Realism. He returned to the United States annually, mostly to sell his paintings, but remained active in the Parisian art scene until 1939. He exhibited his works in Cleveland, New York, Chicago, San Francisco, Los Angeles, and Paris.

Before the start of World War II, Warshawsky left Paris and settled in Monterey, California. Warshawsky married Ruth Tate in 1941. He died from heart failure in 1962. His works are in the permanent collections of the Akron Art institute, the Cleveland museum of Art, the Luxembourg Museum, the De Young Museum, the Petit Palais, and the Los Angeles County Museum of Art.
Separated Materials:
The Western Reserve Historical Society in Cleveland, Ohio holds the Abel G. Warshawsky Family papers.
Provenance:
The bulk of the A.G. Warshawsky papers were donated in 1996 by Froma Goldberg, Warshawsky's niece. In 1978, Ruth Warshawsky donated a typescript copy of her husband's autobiography, "My Brush with Life."
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington D.C. Research Facility. Contact Reference Services for more information.
Rights:
The A.G. (Abel George) Warshawsky papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Artists' studios -- Photographs  Search this
Impressionism (Art)  Search this
Art students -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Painters -- California -- Los Angeles  Search this
Expatriate painters -- France -- Paris  Search this
Genre/Form:
Drawings
Sketches
Scrapbooks
Sketchbooks
Photograph albums
Prints
Photographs
Citation:
A.G. (Abel George) Warshawsky papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warsabel
See more items in:
A.G. (Abel George) Warshawsky papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warsabel
Online Media:

William Cushing Loring papers

Creator:
Loring, William Cushing, 1879-  Search this
Names:
Musée du Louvre  Search this
National Gallery (Great Britain)  Search this
Rhode Island School of Design  Search this
Alma-Tadema, Lawrence, Sir, 1836-1912  Search this
Loring, Elizabeth  Search this
Loring, Helen  Search this
Loring, Robert  Search this
Loring, Stanton D.  Search this
Millet, Francis Davis, 1846-1912  Search this
Sargent, John Singer, 1856-1925  Search this
Photographer:
Chickering, Elmer  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Paintings
Photographs
Illustrated letters
Date:
1899-1961
Summary:
The papers of American portrait painter William Cushing Loring (1897-1959) measure 0.7 linear feet and date from 1899-1961. The majority of the collection consists of correspondence, including letters which document Loring's artistic education in Paris and London 1900-1904. Also found within the collection are letters from other Loring family members, printed materials which document Loring's artistic career, and photographs of the artist and his work.
Scope and Contents:
The William Cushing Loring papers measure 0.7 linear feet and date from 1899-1961. The collection documents Loring's artistic education in Paris and London and his career as an artist and instructor through correspondence, printed materials, and photographs.

Correspondence consists primarily of letters from William Cushing Loring to other Loring family members, including Stanton D. Loring, his father; Mrs. Stanton D. Loring, his mother; Robert Loring, his brother; and Elizabeth and Helen Loring, his sisters. Letters document Loring's life as an artist living abroad in Paris and London. He writes of visits to the studios of John Singer Sargent, Francis David Millet, and Lawrence Alma-Tadema; trips to museums and galleries; excursions to copy paintings in the Louvre and the London National Gallery; evening entertainment; and accounts of daily expenses. Some letters addressed to his parents include illustrations, sketches in ink and graphite, as well as miniature paintings. Letters from Helen Loring and Robert Loring to their parents, as well as unidentified letters, are also present. Envelopes are for the most part matched to letters, but fragment envelopes and letters are integrated within collection.

Printed materials include exhibition catalogs, newspaper obituary clippings for William Cushing Loring, bulletins for Rhode Island School of Design alumni, a holiday card for Loring's studio, and business cards.

Photographic material includes photographs of works of art by William Cushing Loring and photographs of the artist. Photographs of the artist include portraits and photographs of Loring with his family. Included among photographs of works of art are photos by Elmer Chickering.
Arrangement:
The collection is arranged as three series.

Series 1: Correspondence, 1899-1904 (0.5 linear feet; Box 1-2)

Series 2: Printed Material, circa 1905-1961(4 folders; Box 2)

Series 3: Photographic Material, circa 1905 (4 folders; Box 2, OV 3)
Biographical / Historical:
William Cushing Loring (1897-1959) was an American painter and teacher born in Newton Center, MA. He studied at Boston Museum of Fine Arts, Chase's Art School in New York, Academie Colarossi and Academie Delecluse in Paris, and for two years in Holland and London. Loring was best known for his portraiture. He was appointed head of the painting and drawing department at the Rhode Island School of Design in 1905, and taught at La Salle Junior College in Auburn, Massachusetts from 1921 to 1939.
Provenance:
The collection was donated by William Loring Cushing, Jr., son of the artist, in 1985.
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 William Cushing Loring 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:
Expatriate painters -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Expatriate artists -- England -- London  Search this
Artists' studios -- France -- Paris -- Photographs  Search this
Art -- Study and teaching -- England -- London  Search this
Educators -- United States  Search this
Painters -- Massachusetts  Search this
Genre/Form:
Sketches
Paintings
Photographs
Illustrated letters
Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loriwill
See more items in:
William Cushing Loring papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loriwill
Online Media:

Olin Levi Warner papers

Creator:
Warner, Olin Levi, 1844-1896  Search this
Names:
Fine Arts Federation of New York  Search this
France. Armée. Légion étrangère  Search this
Jno. Williams, Inc.  Search this
Smithsonian Institution  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Cook, Clarence, 1828-1900  Search this
Devens, Charles, 1820-1891  Search this
Eaton, Wyatt, 1849-1896  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Warner, Sylvia Martinache  Search this
Weir, Julian Alden, 1852-1919  Search this
Extent:
1.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Paris (France) -- History -- Commune, 1871
Date:
1857-1962
bulk 1857-1899
Summary:
The papers of sculptor Olin Levi Warner measure 1.9 linear feet and date from 1857 to 1962 with the bulk of the materials dating from 1857 to 1899. The collection documents Warner's art student days in Paris and his career as a sculptor, primarily in New York City. Found are scattered biographical materials and writings, including a speech by Warner about the Paris Commune of 1871; personal and professional correspondence; clippings, catalogs, and other printed material; sculpture project files; and photographs of Warner, his studio, his family, and notable figures who sat for him, including artist J. Alden Weir, and his artwork.
Scope and Content Note:
The papers of sculptor Olin Levi Warner measure 1.9 linear feet and date from 1857 to 1962 with the bulk of the materials dating from 1857 to 1899. The collection documents Warner's art student days in Paris and his career as a sculptor, primarily in New York City. Found are scattered biographical materials and writings, including a speech by Warner about the Paris Commune of 1871; personal and professional correspondence; clippings, catalogs, and other printed material; sculpture project files; and photographs of Warner, his studio, his family, and notable figures who sat for him, including artist J. Alden Weir, and his artwork.

Found are biographical materials, including a speech written by Warner about the Paris Commune of 1871, awards, and membership records for several art organizations, including the Fine Arts Federation of New York.

Personal and business correspondence written by Warner, his wife, and his daughter is with family and friends. Warner's correspondents include artists Albert Pinkham Ryder, Clarence Cook, and Wyatt Eaton, among others. Of note are letters written from Warner to his family during the time he spent in Paris from 1869 to 1872 studying art and serving in the Foreign Legion.

Also found are scattered project files for a few of his notable sculptural projects, including his statue of Massachusetts governor Charles Devens, the Hodgkins Medal designed as the Smithsonian Institution's seal, work for the Chicago World's Fair, and bronze work produced by the Jno. Williams Foundry.

Printed materials include clippings and exhibition catalogs for the Society of American Artists, the National Sculpture Society, and the World's Columbian Exposition.

Photographs in the papers are of Warner, his family, home, and studio, works of art, and a few notable sitters, including the artist J. Alden Weir.
Arrangement:
The collection is arranged into five series.

Series 1: Biographical Material, 1863-1896 (Box 1, OV 4; 5 folders)

Series 2: Correspondence, 1857-1962 (Box 1; 0.7 linear feet)

Series 3: Project Files, 1871-1936 (Box 1, OV 4; 6 folders)

Series 4: Printed Material, 1862-1950 (Boxes 1-2, OV 4; 6 folders)

Series 5: Photographs, 1870s-1890s (Box 2-3, OV 4; 0.7 linear feet)
Biographical Note:
Olin Levi Warner was born in 1844 in Suffield, Connecticut and worked as an artisan and a telegraph operator before pursuing his art education and career. In 1869, Warner traveled to Paris to study under Francois Jouffroy at the Ecole des Beaux-Arts. He was in Paris when the Republic was declared and served in the French Foreign Legion for a short while before resuming his studies. In 1872 he returned to the United States and set up a studio in New York.

An early proponent of the French Beaux-Arts style, Warner was a founding member of the Society of American Artists in 1877 and joined the National Academy of Design in 1888. By the end of Warner's lifetime, he had become a well-known sculptor, helping to popularize bas-relief in the United States. A few of Warner's notable works include a series of medallions depicting Native American Indian Chiefs, an 1876 bust of President Rutherford B. Hayes, the 1883 nude Diana, a statue of judge and former U.S. Attorney General Charles Devens in Boston, and the design of the bronze doors of the Library of Congress. This last project was uncompleted at the time of Warner's death on August 14, 1896, as the result of a bicycle injury in Central Park.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reel 270. All of the material was later donated, except for one sketchbook which was returned to the lender, and is not described in the collection container inventory.
Provenance:
A portion of the Olin Levi Warner papers were originally loaned to the Archives of American Art for microfilming in 1972 by Rosalie Warner Jones, Warner's daughter. Rosalie Warner Jones and her sister, Frances O. Warner, and Rosalie's daughter Frances Follin Jones, donated the collection in several accretions between 1972 and 1977. This gift included the majority of the loaned materials, excluding one sketchbook. Additional materials were transferred to the Archives in 2005 from the Smithsonian American Art Museum.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Olin Levi Warner 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:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching -- France -- Paris  Search this
Sculpture, American  Search this
Genre/Form:
Photographs
Citation:
Olin Levi Warner papers, 1857-1962 (bulk 1857-1899). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.warnolin
See more items in:
Olin Levi Warner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-warnolin
Online Media:

Emmet family papers

Creator:
Emmet family  Search this
Names:
Berkshire Museum  Search this
Danforth Museum  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Beaux, Cecilia, 1855-1942  Search this
Casals, Pablo, 1876-1973  Search this
De Glehn, Jane Erin Emmet, 1873-1961  Search this
De Glehn, Wilfrid-Gabriel, 1870-1951  Search this
Doyle, Nancy  Search this
Emmet, Julia Colt Pierson, 1829-1908  Search this
Emmet, Lydia Field, 1866-1952  Search this
Emmet, Robert, 1778-1803  Search this
Fontanne, Lynn  Search this
James, Henry, 1843-1916  Search this
La Farge, Bancel, 1865-1938  Search this
Lunt, Alfred  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Metcalfe, Susy  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Monod, Lucien  Search this
Morgan, Elizabeth Emmet, d. 1934  Search this
Ormond, Violet Sargent  Search this
Quilter, Roger, 1877-1953  Search this
Rand, Ellen Emmet, 1875-1941  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sargent, Emily, 1857-  Search this
Sargent, John Singer, 1856-1925  Search this
Sherwood, Robert E. (Robert Emmet), 1896-1955  Search this
Sherwood, Rosamond, 1899-  Search this
Sherwood, Rosina Emmet, 1854-1948  Search this
White, Stanford, 1853-1906  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Date:
1792-1989
bulk 1851-1989
Summary:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.

Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.

Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.

Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.

Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.

Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.

Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.

Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.

Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.

Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.

Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)

Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)

Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)

Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)

Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)

Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)

Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)

Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)

Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.

The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.

Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.

The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.

The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Emmet family 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 -- France -- Paris  Search this
Works of art  Search this
Women painters -- New York (State)  Search this
Painting, American -- New York (State)  Search this
Illustrators -- New York (State)  Search this
Painters -- England -- London  Search this
Playwrights  Search this
Portrait painters -- New York (State) -- New York  Search this
Singers  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Citation:
Emmet family papers, 1792-1989 (bulk 1851-1989). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.emmefami
See more items in:
Emmet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-emmefami
Online Media:

Carl Hirschberg papers

Creator:
Hirschberg, Carl, 1854-1923  Search this
Names:
Bonnat, Léon Joseph Florentin, 1833-1922  Search this
Harper, William St. John, 1851-1910  Search this
Hirschberg, Alice, b. 1856  Search this
Hoeber, Arthur, 1854-1915  Search this
Laurens, Jean-Paul, 1838-1921  Search this
Nelson, Laurence, 1887-1978  Search this
Turner, Charles Yardley, 1850-1918  Search this
Extent:
5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1871-1951
Scope and Contents:
The bulk of collection consists of correspondence with his wife Alice Hirschberg and their son Laurence Nelson, but also included are letters to Hirschberg from Charles Yardley Turner and William St. John Harper, who write from abroad while studying art with Jean Paul Laurens and Leon Bonnat. Other correspondents include Walter Shirlaw, John Lavery, Edwin Austin Abbey, Arthur Hoeber and art patron J. Sanford Saltus. Nelson's correspondence relates to his experiences while studying abroad and with Birge Harrison at the Art Students League Woodstock Summer School. Also included are photographs, mainly of the family and a written work by Alice Hirschberg.
Biographical / Historical:
Painter, illustrator; New York, N.Y. Born in Germany. Married to Alice Hirschberg (Alice Kerr-Nelson). Their son, painter and teacher Laurence Nelson, took his mother's name.
Provenance:
Donated by William Dolan Fletcher in 1985.
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  Search this
Topic:
Art, Modern -- 19th century  Search this
Art -- Study and teaching -- France -- Paris  Search this
Identifier:
AAA.hirscarl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hirscarl

Aaron Goodelman papers

Creator:
Goodelman, Aaron J., 1890-1978  Search this
Names:
American Artists' Congress  Search this
Union of American Hebrew Congregations  Search this
Goodelman, Sarah  Search this
Extent:
7.1 Linear feet ((partially microfilmed on 7 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1909-1980
Scope and Contents:
Biographical material, correspondence, writings, project files, works of art, photographs, and printed material documenting Goodelman's work as a sculptor, his participation in the Jewish community, and his interest in socialism.
Personal and professional correspondence is with artists, art associations, museums, galleries and relief organizations, documenting Goodelman's education in Rome, New York and at L'Ecole des Beaux-Arts, Paris; his teaching career in New York, particularly with the Jefferson School of Social Sciences; and his participation in art, political and Jewish organizations, such as American Artists' Congress and the Union of American Hebrew Congregations.
Writings by Goodelman, undated and 1934, include notes, notebooks, and typescripts. There is also a typescript of Elizabeth McCausland's speech "Art and the Atom," 1947. Project files contain information regarding Goodelman's sculpting of memorial gravestones, Passover art, and the Week of Jewish Culture. Works of art by Goodelman, ca. 1920-1930's, include illustrations for the children's journals "Young Israel," "Kinder Journal" and Joseph Gaer's books "the Burning Bush" and "the Unconquered," sketches, portraiture, and figure drawings.
Photographs are of Goodelman, working and teaching sculpture; his childhood in Russia; his family, friends, and students; memorial gravestones, and works of art.
Printed material includes exhibition anouncements and catalogs, entry cards, invitations, clippings, political and art organizations information, adult and art education flyers, clippings and a photocopy of Goodelman's privately microfilmed scrapbook containing letters and printed material.
Also included are files on Goodelman's wife, Sarah, on Jewish children's schools, 1949-1950.
UNMICROFILMED: Two scrapbooks compiled by Sarah Goodelman, containing newspaper clippings, exhibition catalogs and photographs regarding the career of Aaron Goodelman, as well as business cards, addresses, scattered receipts, negatives, and miscellany.
Biographical / Historical:
Sculptor, illustrator, lecturer, teacher; New York, N.Y. Another apparent name spelling is Aharon Gudlman.
Provenance:
Donated 1977 by Goodelman, and in 1984 by his heir, Connie Weinstock and microfilmed in 1994 with funds provided by the Philip Birnbaum Foundation. Additional scrapbooks were donated in 2008 by Weinstock and do not appear on microfilm.
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, Jewish  Search this
Jewish art and symbolism  Search this
Jewish artists  Search this
Art -- Study and teaching -- France -- Paris  Search this
Art -- Study and teaching -- Italy -- Rome  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.goodaaro
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-goodaaro

Allen Philbrick papers

Creator:
Philbrick, Allen, 1879-1964  Search this
Names:
Art Institute of Chicago  Search this
Kellogg, Edith  Search this
Extent:
0.4 Linear feet ((on a partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1902-1990
Scope and Contents:
Correspondence consists primarily of letters, 1902-1987, from Philbrick to his future wife, concert pianist Edith Kellogg, in which he describes his travels to Naples, Capri, Spain, and his studies in Paris. Two receipts are from the Academie Colarossi, 1905, and the Adams Davidson Galleries, 1990. Printed material consists of clippings, 1918-1980, 5 exhibition announcements and catalogs, 1977-1989, a program for HANSEL AND GRETEL, a passenger list from the ship ALICE, 1909, and a booklet, 1966, about the Peoples Savings Bank of Cedar Rapids which contains murals by Philbrick. Photographs show life class students at the Art Institute of Chicago, ca. 1908, and works of art.
Biographical / Historical:
Painter, art instructor; Chicago, Ill. Born in Utica, New York, Philbrick studied at the Art Institute of Chicago and in Paris at the Academie Colarossi and the Academie Julian with Jean Paul Laurens from 1904-1906. From 1906 to 1953, he taught at the Art Institute of Chicago.
Provenance:
Lent for microfilming 1991 by Jane Kofler, the daughter of Allen Philbrick and Edith Kellogg.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art teachers -- Illinois -- Chicago  Search this
Painters -- Illinois -- Chicago  Search this
Topic:
Art schools -- Illinois -- Chicago -- Photographs  Search this
Art -- Study and teaching -- France -- Paris  Search this
Identifier:
AAA.philalle
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-philalle

Hyman Robert Bizinsky papers

Creator:
Bizinsky, Hyman Robert, 1915-1982  Search this
Names:
McGill, Ralph, 1898-1969  Search this
Morgan, Edward P., 1910-1993  Search this
Soupault, Philippe, 1897-  Search this
Extent:
1.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1946-1990
Scope and Contents:
Correspondence, sketches, sketchbooks, clippings, and exhibition announcements. Papers record the career of Bizinsky from his 1946-1951 years in Paris and his lifelong friendship with crusading Atlanta Constitution editor Ralph McGill. Also included are 2 pages (4 sides) of Bizinsky's ink sketches of horses, a 1967 sketchbook, a sketch diary and loose sketches. Among the correspondents are Edward P. Morgan, the noted journalist and newsman, and Philipe Soupault, French poet and art critic (one letter, in French).
Biographical / Historical:
Painter, teacher; Los Angeles, Calif. Bizinsky was a post-impressionist painter of city and landscapes. He attended classes at Atlanta's High Museum of Art, and worked as a cartoonist for the Atlanta Constitution under editor Ralph McGill, who became his mentor, a lifelong friend, and collector of Bizinsky's work. He later attended the Art Students' League in N.Y. and the École Nationale Supérieure des Beauz-Arts in Paris. From 1946-1951 he worked in Paris with fauvist Emile-Othon Friesz and exppressionist Yves Brayer. He returned to the U.S. in 1951 under a scholarship from the Huntington Hartford Foundation in Southern California, and settled in Los Angeles where he became active in the Westwood Art Association.
Provenance:
Donated by Mrs. H. Robert Bizinsky, widow, 1994.
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 students -- France -- Paris  Search this
Artists -- California -- Los Angeles  Search this
Caricaturists -- Georgia -- Atlanta  Search this
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.bizihyma
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bizihyma

Oral history interview with John Wilson

Interviewee:
Wilson, John, 1922-2015  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boston University. School of Fine and Applied Arts  Search this
Museum of Fine Arts, Boston. School  Search this
Aronson, David, 1923-2015  Search this
Bengtz, Ture, 1907-1973  Search this
Gaither, Edmund B.  Search this
Hurwitz, Sidney, 1932-  Search this
Kay, Reed  Search this
Kramer, Jack  Search this
Lewis, Elma  Search this
Léger, Fernand, 1881-1955  Search this
Rivera, Diego, 1886-1957  Search this
Siqueiros, David Alfaro  Search this
Zerbe, Karl, 1903-1972  Search this
Extent:
497 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1993 March 11-1994 August 16
Scope and Contents:
An interview of John Woodrow Wilson conducted 1993 March-1994 August, by Robert F. Brown, for the Archives of American Art.
Wilson discusses his childhood as a member of a family of middle class blacks from British Guiana (now Guyana); his father's grave disappointments in the face of racial discrimination; his parents' push for their children to succeed; early urge to read and draw; encouragement by School of the Museum of Fine Arts, Boston students who taught at the Roxbury Boys Club; his secondary education; and friends.
He talks about his education at the MFA School, Boston, and comments on such teachers as Ture Bengtz and Karl Zerbe and compares their exacting methods with those of Fernand Leger, his teacher in Paris.
His work of the 1940s prior to going to Paris; the importance of early awards and sales received while still a student at the MFA School; the excitement of sharing a studio with fellow students, Francesco Carbone and Leo Prince; and encouragement to stay in school during WW II with the promise of a European study fellowship after the war.
The great impact of his years in Paris (1948-49); the lack of racial prejudice; the liberating effect of Leger's teaching; his awe of the work of Masaccio and Piero della Francesca during a trip to Italy; and the deep impression made on him by seeing tribal art in the Musee de l'Homme, Paris.
Continued discussion of Leger; his teaching methods; and influences on his work.
His first teaching position at the MFA School; his involvement in civil rights in Boston; his gregariousness and the use of his studio as a meeting place for artists and political activists; his involvement with socialism in Boston and New York; and working in a socialist children's camp. He remembers meeting Paul Robeson, Charles White, Elizabeth Catlett, and Bob Blackburn, who was then setting up his printmaking atelier in New York; marriage to a fellow socialist (June 1950); move to Mexico on a fellowship to study with Jose Orozco on the advice of Leger, only to find that Orozco had died; terrors of travel as an interracial couple through the U.S.; and different racial attitudes in Mexico and the U.S.
Living in Mexico (1950-56) and anecdotes of David Alfaro Siqueiros and Diego Rivera; his wife's meeting with Frieda Kahlo and seeing her collection of folk art; their free and cosmopolitan, if impoverished, life in Mexico; his work in a printmaking atelier and on the production of frescoes, and a lengthy aside about his brilliant brother, Freddie, who because he was black was not allowed to pursue his first love, geology, for many years.
Continued discussion of his experiences in Mexico; the dreary year (1957) he spent doing commercial art for a meatpackers' union in Chicago, a city he disliked; his move to New York in 1958, taking on commercial work to support his family, and teaching anatomy at the Pratt Institute.
Teaching art at a junior high school in the Bronx, and his gaining respect of students through special projects; teaching drawing at Boston University (1965-86), his approach to teaching including his demanding standards, the seriousness of the students, his opposing rigid attendance and grading rules, and colleagues, such as David Aronson who had created the School, Reed Kay, Jack Kramer, Sidney Hurwitz, and the University president, John Silber.
Working with the black arts entrepreneur, Elma Lewis, in setting up a visual arts program for the Boston black community (late 1960s-1970s), including the selection of a curator, Edmund Barry Gaither, a young art historian, who eventually established a museum of African-American art; his participation in various black art exhibitions, despite his belief that art should be seen regardless of the ethnic origins of artists; his move toward sculpture, beginning in the early 1960s, as a medium most expressive of black persons, culminating in the 1980s in a series of colossal heads and a statue of Martin Luther King, Jr. for the U.S. Capitol (1985-86); and why he makes art and will so long as he is able.
Biographical / Historical:
John Wilson (1922- ) is an African American painter, sculptor, illustrator, printmaker, and educator from Boston, Massachusetts. Full name John Woodrow Wilson.
General:
Originally recorded on 11 sound cassettes. Reformatted in 2010 as 22 digital wav files. Duration is 16 hr., 2 min.
Uneven transcription reflects Wilson's unusual speech pattern.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators. Funding for the transcription and microfilming of the interview provided by the Newland Foundation.
Topic:
African American artists -- Interviews  Search this
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Art -- Study and teaching -- Mexico  Search this
Art -- Study and teaching -- France -- Paris  Search this
Painters -- Massachusetts -- Interviews  Search this
Sculptors -- Massachusetts -- Interviews  Search this
Printmakers -- Massachusetts -- Interviews  Search this
Art teachers -- Massachusetts -- Interviews  Search this
African American artists as teachers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.wilson93
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilson93

Oral history interview with Elizabeth Saltonstall

Interviewee:
Saltonstall, Elizabeth, 1900-1990  Search this
Interviewer:
Brown, Robert F.  Search this
Names:
Boston Society of Independent Artists  Search this
Institute of Contemporary Art (Boston, Mass.)  Search this
Institute of Modern Art (Boston, Mass.)  Search this
Milton Academy (Milton, Mass.) -- Faculty  Search this
Museum of Fine Arts, Boston. School  Search this
Windsor School (Boston, Mass.) -- Faculty  Search this
Windsor School (Boston, Mass.) -- Students  Search this
Benson, Frank Weston, 1862-1951  Search this
Bosley, Frederick A., 1881-1942  Search this
Chase, Frank Swift, 1886-1958  Search this
Clark, Henry Hunt  Search this
Cross, Anson K., 1862-1944  Search this
Hale, Philip Leslie, 1865-1931  Search this
James, Alexander, 1890-1946  Search this
Miller, George Charles, b. 1894  Search this
Presser, Josef, 1909-1967  Search this
Saltonstall, Nathaniel, 1903-1968  Search this
Thompson, Leslie P.  Search this
Wengenroth, Stow, 1906-1978  Search this
Extent:
34 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1981 November 18
Scope and Contents:
An interview of Elizabeth Saltonstall conducted 1981 November 18, by Robert F. Brown, for the Archives of American Art.
Saltonstall discusses her experiences with art as a child in Boston (mentioning Frank Weston Benson as an influence) and her subsequent art education at the Winsor School, the art school of the Museum of Fine Arts, Boston, and independent study in Paris. She remembers the various teaching styles of the Museum School faculty (Frederick A. Bosley, Henry Hunt Clark, Anson K. Cross, Philip Leslie Hale, Alexander James, and Leslie P. Thompson), especially as they contrasted with French teaching methods. She also speaks of her teachers in France and on Martha's Vineyard and Nantucket (including Frank Swift Chase), and recalls some of her co-students (including Josef Presser). Particular mention is made of a lithography workshop taught by Stow Wengenroth, and of George C. Miller, who printed her lithography stones. Her cousin, Nathaniel Saltonstall, is discussed as a patron of the arts, especially his contributions to the establishment of the Institute of Modern Art [Institute of Contemporary Art] in Boston. She touches also on her own teaching career at Winsor School and Milton Academy, and her involvement with the Boston Society of Independent Artists and the Grace Horn Gallery.
Biographical / Historical:
Elizabeth Saltonstall (1900-1990) was a painter, printmaker, and instructor of Chestnut Hill, Mass.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 25 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Art patrons -- Massachusetts -- Boston  Search this
Topic:
Art -- Study and teaching -- France -- Paris  Search this
Art -- Study and teaching -- Massachusetts  Search this
Art teachers -- Massachusetts -- Interviews  Search this
Painters -- Massachusetts -- Interviews  Search this
Printmakers -- Massachusetts -- Interviews  Search this
Women artists -- Massachusetts -- Interviews  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.salton81
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-salton81

Emlen Etting papers

Creator:
Etting, Emlen, 1905-1993  Search this
Names:
Lhote, André, 1885-1962  Search this
Extent:
3 Linear feet ((on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1928-1987
Scope and Contents:
Correspondence, journal, writings, printed material, scrapbook, and two card files on paintings.
REEL D251: Correspondence; a war journal, July 29 through August 26, 1944, recounting the liberation of Paris; a limited edition book, 1932, GRAVEYARD BY THE SEA (LE CIMETIERE MARIN) by Paul Valéry, in French with English translation and original illustrations by Etting; clippings and critical material; exhibition catalogs and announcements; speeches, broadcasts and writings.
REELS 4158-4159: A manuscript "A Studio in Paris" describing Etting's experiences studying with Andre Lhote in Paris, 1928-1931, and a volume of illustrations for the manuscript; ten volumes of scrapbooks containing photographs, clippings, exhibition invitations and checklists; photographs of works of art, models, exhibition installations, and of Etting's school in Philadelphia; and two card files containing data on Etting's paintings, one compiled by an intern, 1985.
REEL 4340: Three exhibition catalogs and two postcards.
Biographical / Historical:
Painter and illustrator; Philadelphia, Pa. Died 1993. During the Second World War, Etting was an official French language announcer in London for the American Broadcast stations in Europe.
Provenance:
Material on reel D251 donated by Etting, 1966. He lent papers on reels 4158-4159 in 1988 as part of AAA's Philadelphia Arts Documentation Project. A few additional items of printed material were donated by Etting (reel 4340), and transferred to NMAA/NPG Library after filming.
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:
Painters -- Pennsylvania -- Philadelphia  Search this
Illustrators -- Pennsylvania -- Philadelphia  Search this
Topic:
World War, 1939-1945 -- Personal narratives, American  Search this
Art -- Study and teaching -- France -- Paris  Search this
Art, Modern -- 20th century -- Pennsylvania -- Philadelphia  Search this
Painting, Modern -- 20th century -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Drawings
Identifier:
AAA.ettiemle
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ettiemle

DeWitt Parshall papers

Creator:
Parshall, DeWitt, 1864-1956  Search this
Names:
Harrison, Thomas Alexander, 1853-1930  Search this
Hyde, William H. (William Henry), 1858-1943  Search this
Peters, Charles Rollo, 1862-1928  Search this
Potthast, Edward, 1857-1927  Search this
Extent:
0.2 Linear feet ((93 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1898-1932
Scope and Contents:
Photographs, including one with George and Nina Stevens at the 1917 exhibition of Parshall's work at the Toledo Museum, and two photographs of Alexander Harrison's art class in Paris with Parshall, William Hyde, Alexander Harrison, Edward H. Potthast, and Charles Rollo Peters. Also, includes correspondence; notes, some with sketches; writings on painting, sculpture, and visual techniques; and printed miscellany.
Biographical / Historical:
Painter, landscape painter; Santa Barbara, California.
Provenance:
The donor, Douglass E. Parshall, is DeWitt Parshall's son.
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:
Landscape painters  Search this
Painters  Search this
Topic:
Painting -- California -- Santa Barbara  Search this
Landscape painting -- California -- Santa Barbara  Search this
Art -- Study and teaching -- France -- Paris -- Photographs  Search this
Identifier:
AAA.parsdewi
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-parsdewi

Abraham Rattner and Esther Gentle papers

Creator:
Rattner, Abraham  Search this
Names:
Downtown Gallery (New York, N.Y.)  Search this
Esther Gentle Reproductions  Search this
Kennedy Galleries  Search this
Paul Rosenberg & Co.  Search this
Bedwell, Bettina, 1889-1947  Search this
Biddle, George, 1885-1973  Search this
Boyle, Kay, 1902  Search this
Burlin, Paul, 1886-1969  Search this
Carton, Norman, 1908-1980  Search this
Coates, Robert M. (Robert Myron), 1897-1973  Search this
Davis, Stuart, 1892-1964  Search this
De Rochemont, Richard  Search this
Dehn, Adolf, 1895-1968  Search this
Dos Passos, John, 1896-1970  Search this
Gentle, Esther, 1900-  Search this
Gonzalez, Xavier, 1898-1993  Search this
Griffin, John Howard, 1920-  Search this
Guthrie, Ramon, 1896-  Search this
Gwathmey, Robert, 1903-1988  Search this
Hall, William Weeks, 1894-1958  Search this
Hayter, Stanley William, 1901-  Search this
Hiler, Hilaire, 1898-1966  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirsch, Stefan, 1899-1964  Search this
Holty, Carl, 1900-1973  Search this
Hélion, Jean, 1904-1987  Search this
Kronberg, Louis, 1872-1965  Search this
Lebrun, Rico, 1900-1964  Search this
Leepa, Allen, 1919-2009  Search this
Lipchitz, Jacques, 1891-1973  Search this
Ludgin, Earle, 1898-1981  Search this
Malcolm, Thalia Westcott, b. 1878  Search this
Miller, Henry, 1891-  Search this
Miró, Joan, 1893-  Search this
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Peake, Channing, 1910-  Search this
Poor, Henry Varnum, 1887-1970  Search this
Ruvolo, Feliz  Search this
Stark, Jack Gage, 1882-1950  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Weller, Allen S. (Allen Stuart), 1907-1997  Search this
Extent:
26.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Diaries
Scrapbooks
Photographs
Interviews
Date:
1891-1986
Summary:
The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.
Scope and Content Note:
Abraham Rattner's papers provide insight into an important time for twentieth century American art and culture. By studying Rattner's papers, the researcher may view the beginnings of Modernism, the cultural change that pushed the boundaries of artistic and literary traditions and provided new ways in which to express ourselves.

The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.

The biographical files contain documents such as Rattner's birth certificate, travel visas, his senior yearbook from 1912 which shows some of his early art work, and some of his awards. His birth certificate is of particular interest since it shows Rattner's birth date to be 1893 instead of the recognized 1895.

The correspondence offers great insight into the thoughts of many American and European artists and writers during the 1930s and 1940s. Rattner, a prolific writer, expressed many of his own thoughts and concerns through his letters, many of which are included in this collection. The vast amount of correspondence include letters from notable figures such as George Biddle, Kay Boyle, Paul Burlin, Norman Carton, Robert Coates, Stuart Davis, Adolph Dehn, Richard de Rochemont, John Dos Passos, Xavier Gonzales, John Howard Griffin, Ramon Guthrie, Robert Gwathmey, Weeks Hall, Stanley W. Hayter, Jean Helion, Hilaire Hiler, Joseph Hirsch, Stefan Hirsch, Carl Holty, Louis Kronberg, Rico Lebrun, Jacques Lipchitz, Earle Ludgin, Thalia Wescott Malcolm, Henry Miller, Joan Miro, Bror Julius Olsson Nordfeldt, Channing Peake, Henry Varnum Poor, Felix Ruvolo, Waverly Root, Jack Gage Stark, Frank C. Watkins, and Allen Weller, among others.

Rattner was engaged in a wide range of special art projects, and he kept detailed files on these projects. The projects spanned from 1940 through 1973 and included endeavors such as illustrations for Life magazine, stained-glass designs, mosaic and tapestry projects, as well as special paintings such as Victory--Jerusalem the Golden and The Gallows of Baghdad. Rattner's papers also detail the history of a fresco painted by Paul Gauguin entitled Joan d'Arcwhich Rattner purchased in France in 1925.

Rattner's forty year friendship with the writer Henry Miller is chronicled throughout the collection in the forms of correspondence, writings, printed material, phototographs and artwork. Their correspondence ranges from 1938 through 1978 and offers great insight into their relationship. Rattner and Miller's road trip from New York to New Orleans in 1940-1941 is documented in the series entitled Special Projects. Also included in the collection are printed material, such as biographical material on Miller, Miller's writings, literary announcements and reviews; Miller's writings on Rattner; and photographs of Miller.

The gallery files contain correspondence, receipts, and notes regarding the galleries which represented Rattner. Those galleries included the Rosenberg Gallery, the Downtown Gallery, and the Kennedy Gallery. A small series of exhibition files contain material about exhibitions held outside of Rattner's representative galleries.

Rattner's writings proved to be an outlet for his thoughts on painting, his inspirations, frustrations, and sadness. In addition to painting, Rattner was able to express his creativity through writing poetry. Writing also helped him work through his depression over the death of his first wife Bettina Bedwell.

He also kept finely detailed studio notebooks. The original order has been maintained, and they trace the history of almost each painting, drawing, and study attempted by Rattner. The notebooks often provide information regarding whether the work was sent to a gallery or given as a gift. Sometimes they contain correspondence or writings that reveal the inspiration for a work. They have been arranged in chronological order, according to Rattner's own filing system.

Rattner retained receipts for most of his art expenses. Arranged by decade, these receipts show the type of paint, colors, types of paper and brushes that he used.

Rattner also kept many household files and personal financial records. Household files contain insurance records, warranties and rental agreements, while the financial records contain returned checks and bank statements. Some bank statements from Esther Gentle Reproductions are also included. The household files and financial records are not filmed.

The date books and diaries reveal the aspects of daily life and the personal thoughts of Rattner and Esther Gentle. In many cases, Rattner shared his date books and diaries with Gentle. The early diaries are fascinating, especially the 1939 diary that discloses the Rattners' last days in France before escaping Nazism and returning to the United States.

Rettner's scrapbooks span from 1938 to 1952 and contain newspaper and magazine clippings that mention the artist or his work.

The printed material covers a period from 1930s through the 1980s and includes exhibition catalogs, exhibition announcements, clippings, and miscellaneous material such as an autograph book from 1969 and a map of Israel that shows Rattner's travel route. There is a large amount of unfilmed printed material that is listed in the series description.

Writings by others consists of writings on Rattner and other topics.

The collection contains many photographs taken of Rattner and taken by him, as well as photos of family, friends, his studio, travels, and photographs of Rattner's art. Photographs of notable people include Henry Miller, Joan Miro, John Dos Passos, Archibald MacLeish, and Malcolm Cowley, among others.

The amount of Rattner's art work included in the collection is small, but it is significant because it provides examples of his very early work, dating from 1912-1914. Some later studies are also present, as well as a number of random sketches. Color was very important to Rattner, and some of his color studies from the 1940s are also included. Art work by other artists is comprised of some small paintings by Max Weber, a water color by Henry Miller, a painting by Ken Buryd, as well as some work by unknown artists.

In addition to tracing Rattner's life and career, the collection also documents the lives of Rattner's two wives, Bettina Bedwell and Esther Gentle. Both women had profound effects on Rattner's work. Among Bettina Bedwell's papers are her diary, fashion sketches, and correspondence. Esther Gentle's papers include correspondence, writings, as well as papers documenting her business Esther Gentle Reproductions. There are a small amount of papers relating to Allen Leepa, Rattner's stepson with Esther Gentle.

See index for list of correspondents from various series.
Arrangement:
The collection is arranged into twenty-four series based primarily on type of document or special project. Though concentrated in its own series, additional correspondence is scattered throughout the collection and may be found in special project files, gallery files, exhibition files, studio notebooks, and scrapbooks. The correspondence has been divided into two subseries, one chronological and the other according to Rattner's subject-oriented filing system. Special art projects have been organized by project, and placed in chronological order. The studio notebooks have also been divided into subseries, and all notebook pages maintain Rattner's original order. The first subseries of notebooks reflects Rattner's numbering system, while the second subseries is arranged chronologically. The vast amount of printed material has been divided into subseries, and all of the unfilmed printed material has been organized chronologically at the end of the series.

Within each series, material is arranged either in chronological order, or in some cases, according to Abraham Rattner's own organizational system.

Oversized materials from various series are housed in oversized folders 33-45 and are noted in the Series Description/Container Listing with see also/see references or in the container columns.

Series 1: Biographical Files, 1893-1978, undated (box 1; 0.2 linear ft.)

Series 2: Interviews, 1957-1975, undated (box 1; 7 folders)

Series 3: Correspondence Files, 1933-1978, undated (boxes 1-5; 4.3 linear ft.)

Series 4: Special Projects, 1940-1987, undated (boxes 5-6, ovs 33-35; 1.5 linear ft.)

Series 5: -- Joan d'Arc -- Fresco painted by Paul Gaugin, 1925-1963, undated (box 7, ov 36; 12 folders)

Series 6: Gallery Files, 1942-1975 (boxes 7-8; 1.5 linear ft.)

Series 7: Exhibition Files, 1963-1978 (boxes 7, 9; 9 folders)

Series 8: Writings, 1940-1972, undated (box 9; 0.9 linear ft.)

Series 9: Studio Notebooks, 1935-1975, undated (boxes 10-11; 1.9 linear ft.)

Series 10: Art Expenses, circa 1940-1970 (boxes 11-13; 0.7 linear ft.)

Series 11: Household Files, 1940-1970, undated (box 13; 0.8 linear ft.)

Series 12: Financial Records, 1933-1963 (boxes 13-14; 0.7 linear ft.)

Series 13: Notes and Lists, 1936-1972, undated (box 14; 0.5 linear ft.)

Series 14: Address Books, 1939-1977, undated (box 15; 1.0 linear ft.)

Series 15: Date Books/Diaries, 1937-1977, undated (boxes 16-17; 1.6 linear ft.)

Series 16: Scrapbooks, 1938-1952 (boxes 18-22; 1.5 linear ft.)

Series 17: Printed Material, 1920s-1980s, undated (boxes 23-26; 3.6 linear ft.)

Series 18: Writings by Others, 1945-circa 1980, undated (box 26; 20 folders)

Series 19: Photographs, 1891-1970s, undated (boxes 27-29; 1.6 linear ft.)

Series 20: Works of Art by Rattner, 1912-1914, 1940-1967, undated (box 30, ovs 37-44; 2.4 linear ft.)

Series 21: Works of Art by Others, undated (box 30, ov 45; 7 folders)

Series 22: Bettina Bedwell Papers, 1932-1947, undated (box 31; 0.4 linear ft.)

Series 23: Esther Gentle Papers, 1921-1984, undated (boxes 31-32; 1.3 linear ft.)

Series 24: Allen Leepa Papers, 1952-1969, undated (box 32; 8 folders)
Biographical Note:
Abraham Rattner was born in Poughkeepsie, New York in 1895. His parents immigrated to the United States to escape antisemitism in Czarist Russia. He was the second of six children, including his eldest brother Louis, younger brothers Manuel (Manny) and Harry, and his younger sisters Rose and Jennie.

Rattner's parents encouraged him to paint at a young age, and as he grew up, painting became a part of his daily life. He graduated from Poughkeepsie High School in 1912 and left to study architecture at George Washington University in Washington, D.C. At night, he took art courses at the Corcoran School of Art. He soon became a full-time art student, and applied for a scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia. He was accepted in 1919 and supported himself by doing illustrations for Philadelphia newspapers.

In 1917, World War I interrupted his studies. Rattner entered the United States Army in France where he became Sergeant of camouflage section, 40th Engineers. Camouflage, reflecting aspects of modern art in its form and pattern, made use of Rattner's artistic skills. During the second battle of the Marne, Rattner injured his back and returned to the States with an ailment that would affect him for the rest of his life.

Rattner returned to the Pennsylvania Academy and was awarded the Cresson scholarship to study art in Europe. He traveled for one year, then settled in Paris for the next twenty years. Those twenty years in Paris became the most formative for Rattner because he was able to study and experiment with Futurism, Cubism, and Expressionism. Post World War I Paris was the center of modern culture for Americans disillusioned by the destruction of the war. Expatriate writers, poets, and artists were searching for a culture that shunned the traditions of the past and exchanged ideas with one another at the lively Paris cafes and salons.

In 1924, Abraham Rattner married Bettina Bedwell, an American art student and fashion illustrator. Bettina became the Paris fashion correspondent for the New York News-Chicago Tribune Syndicate. In 1927, Rattner was a member of the Minotaure group, along with Picasso, Miro, Giacometti, Le Corbusier, Braque, Dali, and Reverdy. He also illustrated an article for Jon Dos Passos in Verve magazine in 1931.

Rattner's first one-man show was in 1935 at the Galerie Bonjean in Paris, which was followed by one-man shows at the Julien Levy Gallery in New York, the Arts Club of Chicago, and the Courvoisier Gallery in San Francisco.

The threat of Hitler and Nazism forced Rattner and his wife to flee Paris in 1939. Arriving in New York in early 1940, Rattner agreed to take a trip by car with the writer Henry Miller. Their route took them from New York to New Iberia, Louisiana via the East coast and Southern states. Their mission was to rediscover America, with Henry Miller writing about their experiences and Rattner sketching the scenery. Rattner's friendship with Henry Miller was an important one that lasted throughout his life.

During the 1940s, Rattner's art was widely exhibited. In 1941, he joined the Rosenberg Gallery in New York, and remained with the gallery for fourteen years. He won awards for his work such as the Temple Gold Medal in 1945 and second prize in the Pepsi-Cola Fourth Annual Art Competition in 1946. In 1947, Bettina Bedwell suddenly died due to a kidney infection, sending Rattner into a spiral of grief and depression. To escape depression, from 1947-1949, he taught at the New School for Social Research in New York.

In 1949, Rattner married Esther Gentle, an artist and business woman who ran an art reproductions business. In 1951, the Rattners moved to Rome where he worked as Artist in Residence at the American Academy. The next year, they moved to Illinois where he was the Artist in Residence at the University of Illinois. Ratter was awarded first prize in 1953 at the 23rd Corcoran Biennial Exhibition and also served as Vice-President of Artists' Equity. In 1956, Rattner was the Distinguished Visiting Professor at Michigan State University, and along with his stepson, Allen Leepa, established an art school on Long Island. In 1957, Rattner left the Rosenberg Gallery to join the Downtown Gallery. He felt he would professionally profit from representation by the well-known Edith Halpert; however, the next twelve years reflected a tumultuous relationship between the artist and the gallery owner.

In 1957, Rattner reached out to other forms of art and design. He experimented with mosaic, tapestry and stained-glass. He designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland and a mosaic for a friary and college in Centerville, Ohio. His stained-glass designs were highly celebrated and respected. His most famous stained-glass piece was the window for the Chicago Loop Synagogue. For this piece, Rattner spent two years traveling to Paris to design and supervise every process involved in the design and installation of the window.

Rattner felt that while his paintings during the 1940s and 1950s were romantic and self-reflective, the 1960s marked a new inspirational period in his work. His painting reflected religious comment, bringing Rattner back in touch with his Jewish heritage, as well as reflecting a sense of social protest. In 1968, Rattner exhibited his painting Victory--Jerusalem the Golden to honor the celebration of Israel's twentieth anniversary of independence. It was also in 1968 that Rattner left the Downtown Gallery for the Kennedy Gallery. In 1969, he painted The Gallows of Baghdad series as a protest to the hanging of nine Jews by Iraqi authorities.

The 1970s marked a time of many exhibitions. In 1976, the National Collection of Fine Arts in Washington, D.C. sponsored an exhibition of his designs for stained-glass entitled "...and let there be light". Also, from 1976 through 1977, "Our America" exhibited Rattner's drawings from his 1940 U.S.A. trip with Henry Miller in England and in the United States. In 1977, Michigan State University bestowed upon him the Honorary Degree for Humanity. On February 14, 1978, Abraham Rattner died due to heart failure.

1893 -- Born June 8th in Poughkeepsie, New York.

1912 -- Graduated from Poughkeepsie High School.

1914-1917 -- Student at George Washington University, Corcoran School of Art and Pennsylvania Academy of the Fine Arts.

1917 -- Enlisted in the United States Army in France as Sergeant, camouflage section, 40th Engineers. Fought at Seicheprey, second battle of the Marne, and Chateau-Thierry.

1919 -- Returned to Pennsylvania Academy of the Fine Arts. Awarded Cresson traveling fellowship to Europe.

1920 -- Traveled in France, Spain, England, Belgium and Holland.

1921 -- Art student in Paris at Ecole des Beaux-Arts, Grand Chaumiere, and Academie Ranson.

1922 -- Lived and painted in Giverny, France.

1923 -- Returned to Paris.

1924 -- Married Bettina Bedwell, Paris fashion correspondent for the New York News-Chicago Tribune news syndicate. Exhibited at Salon d'Automne and Salon des Independants.

1927 -- Member of the Minotaure group in Paris.

1931 -- Illustrated article, "Fire," by John Dos Passos for Verve magazine.

1935 -- First one-person show at Galerie Bonjean, Paris. French government purchased Card Party for Museum of Impressionism, The Louvre.

1936 -- One-person show at Julien Levy Gallery, New York (also 1939, 1941); Arts Club of Chicago; Courvoisier Gallery, San Francisco (also 1941).

1940 -- Returned to the United States following Nazi invasion of France. Traveled with Henry Miller from New York to New Iberia, Louisiana.

1941 -- One-person shows: Stendahl Gallery, Los Angeles; Faulkner Memorial Art Gallery, Santa Barbara (also 1943); Paul Rosenberg Gallery, New York (also 1942, 1944, 1946, 1948-1950, 1952, 1956); Studio, New York.

1945 -- Awarded the Temple Gold Medal from the Pennsylvania Academy of Fine Arts. Wrote "An American in Paris" for Magazine of Art.

1946 -- Awarded second prize at the Pepsi-Cola Fourth Annual Art Competition.

1947 -- Death of Bettina Bedwell Rattner.

1948 -- Taught at the New School for Social Research, New York.

1949 -- Married Esther Gentle. Visiting artist at Yale University and at the Brooklyn Museum School. Awarded honorable mention at the Carnegie Institute Exhibition of American Painting.

1950 -- Awarded the Purchase Prize at the University of Illinois Biennial Exhibition.

1951 -- Artist in residence at the American Academy in Rome.

1952 -- Artist in residence at the University of Illinois.

1953 -- Awarded first prize at the 23rd Corcoran Biennial Exhibition. Served as Vice-President of Artists' Equity.

1954 -- Taught at the Art Students League. Panelist at the Design Conference in Aspen, Colorado.

1955 -- Exhibited drawings at the Chicago Art Institute.

1956 -- Distinguished Visiting Professor at Michigan State University. Established an art school in East Hampton and Sag Harbor, Long Island.

1957 -- Designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland. One-person show at Downtown Gallery, New York (also 1958-1967).

1958 -- Designed mosaic wall for St. Leonard's Friary and College in Centerville, Ohio. Designed stained-glass windows for the Flint Institute of Arts, Michigan. Began designs for stained-glass window for the Chicago Loop Synagogue. Exhibited with Alexander Calder at the Corcoran Gallery of Art. Elected member of the National Institute of Arts and Letters. Awarded the Butler Memorial Prize at the Pennsylvania Academy of Fine Arts.

1959 -- Retrospective exhibition circulated by the American Federation of Arts. Exhibited at the Whitney Museum of Art.

1964 -- Exhibited at the Edinburgh International Festival in Scotland.

1968 -- Exhibited painting entitled Victory--Jerusalem the Golden at the celebration of Israel's 20th anniversary of independence.

1969 -- One-person shows: Kennedy Galleries, New York; Galerie Weil, Paris ( Baghdad Hangings), Galerie Belgique, Brussels ( Baghdad Hangings).

1970 -- Film commissioned by ABC-TV entitled "The Long Prayer of Abraham Rattner."

1972 -- Beggar's Opera lithographs exhibited at Circle Gallery, Chicago.

1976 -- Displayed stained-glass on religious themes with the National Collection of Fine Arts in Washington, D.C.

1977 -- "Our America" exhibition in England and the United States. Awarded Honorary Degree for Humanity from Michigan State University.

1978 -- Died on February 14th.
Index: List of Major Correspondents in Various Series:
These correspondents will be found in the following series: Correspondence, Special Projects, Gallery Files, Studio Notebooks, and Scrapbooks: Edward Albee, 1928-

John Anderson, 1904-

Bettina Bedwell, 1889-1947

Carl Beiber

George Belmont

George Biddle, 1885-1973

Kay Boyle, 1902-1992

Brassai, 1899-

Paul Burlin, 1886-1969

McClure Capps "Mac"

Norman Carton, 1908-1980

Jack Chapman

G. Alan Chidsey

Frederick Childs

Robert Coates, "Bob" 1897-1973

Malcolm Cowley, 1898-1989

Salvador Dali 1904-1989

Paul Damaz

Bernard Davis

Stuart Davis, 1894-1964

Adolph Dehn, 1895-1968

Richard de Rochemont

John Dos Passos, 1896-1970

Armand and Suzi D'usseau

Rene Lefebore Foinet

Gisele Freund, 1912-

Emily Genauer, 1911-

Esther Gentle, 1905-1984

Alberto Giacometti, 1901-1966

Xavier Gonzales, 1898-1993

John Howard Griffin

Ramon Guthrie, 1896-1973

Robert Gwathmey 1903-1988

Weeks Hall

Edith Gregor Halpert, 1900-1970

Stanley W. Hayter, 1901-1988

Nathan Hecht

Jean Helion, 1904-1987

William H. Henrick

Henry Herschkvitz

Hilaire Hiler, 1898-1966

Joseph Hirsch "Joe," 1910-1981

Stefan Hirsch, 1889-1964

Carl Holty, 1900-1973

Etienne Hubert

Arno Hummucher

Frederick I. Kann "Fred," 1886-

L.J. Konigsberg "Leib"

Louis Kronberg, 1872-1965

Alexandra Laks

Rico Lebrun (Fredrico), 1900-1964

Allen Leepa, 1919-

Isadore Levy

Julian Levy, 1906-1981

Jacques Lipchitz, 1891-1973

Ward Lockwood, 1894-1963

Jean Louste

Earle Ludgin, 1898-1981

Thalia Wescott Malcolm, 1888-

Reginald Marsh, 1898-1954

Archibald McLeish, 1892-

Henry Miller, 1891-1980

Joan Miro, 1893-1983

Gloria Nardin

Anais Nin, 1903-1977

Bror Julius Olsson Nordfeldt "B.J.O.," 1878-1955

Hugh O'Neill

Channing Peake, 1910-1989

Gabor Peferdi

Irving Penn

Peter Pollack, 1911-1978

Henry Varnum Poor 1888-1970

Andre Raizorkacs

Robert Rey

Maurice Reynal

Raymond Reynal

Hans Richter, 1888-1976

Edward Roditi

Shelden Rodman, 1909-

Waverly Root, 1903-1982

Felix Emmanuele Ruvolo, 1912-

Frank Sedlak

Paul Shapiro

Jack Gage Stark, 1882-1950

Barrie Stavis

Ike Stoeffle

Benjamin Ellis Tepper

David Turnbull

Alfredo Valente

Siegfried Wang

Frank C. Watkins (Franklin Chenault), 1894-1972

Allen Weller, 1907-
Separated Materials note:
Loaned material, including notebooks, writings, and some correspondence, were returned to Abraham Rattner after microfilming. This material is now part of the Abraham Rattner notes collection at the Leepa-Rattner Museum of Art at St. Petersburg College. Loaned material is available on reels D203-D205, D205A-D205B, and reel 1212, but is not described in this finding aid.
Provenance:
The collection was given to the Archives of American Art in stages by Abraham Rattner 1972-1983, by Esther Gentle 1986-1987, and by Gene Allen in 1992. The donated material that was previously filmed has been integrated and refilmed includes reels D203 and D205C-D205D. The material found on reels D205A-D205B was loaned by Rattner and the material found on reel 1212 was loaned by his sister, Jennie Allen.
Restrictions:
The collection is open for research. Use of unmicrofilmed portion requires an appointment.
Rights:
The Abraham Rattner and Esther Gentle 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:
Painters -- New York (State) -- New York  Search this
Works of art  Search this
Artist couples  Search this
Painters -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Sketches
Diaries
Scrapbooks
Photographs
Interviews
Citation:
Abraham Rattner and Esther Gentle papers, 1891-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rattabra
See more items in:
Abraham Rattner and Esther Gentle papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rattabra

C. B. Owen letters

Creator:
Owen, C. B. (Clara Belle), 1854-1955  Search this
Extent:
1 Volume ((24 items))
Type:
Collection descriptions
Archival materials
Volumes
Place:
France -- description and travel
Date:
1880-1881
Scope and Contents:
Contained in a journal are twenty-six letters written by Owen to her mother and sister, Grace during, a trip to London and Paris with her art teacher, Susan Healy St. John, her husband, and son James (the illustrator of Edgar Rice Burroughs' Tarzan books). The letters detail her travels visiting and painting in Paris museums and the French countryside during 1880-1881.
Biographical / Historical:
Portrait and landscape painter; New York City, Los Angeles and Pasadena, Calif. Owen was born in McHenry, Ill.. Her works include portraits of Lillian Russell and Nevada Senator John Percival Jones. She painted landscapes of New England, Florida, Nevada, and California.
Provenance:
Donated 1998 by Maudelle Hoy Woodruff, Owen's niece-in-law. Additions are expected.
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:
Art -- Study and teaching -- France -- Paris  Search this
Women artists  Search this
Identifier:
AAA.owenc
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-owenc

Esther Baldwin Williams and Esther Williams papers

Creator:
Williams, Esther Baldwin, 1867-1964  Search this
Names:
Grace Horne Galleries  Search this
Kraushaar Galleries  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Finck, Furman J., 1900-  Search this
Kroll, Leon, 1884-1974  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Williams, Esther, 1907-1969  Search this
Williams, Nadia, 1910-  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Sketches
Place:
Massachusetts -- Boston -- Description and Travel
France -- Paris -- Description and Travel
Date:
1887-1984
Summary:
The papers of Boston area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.
Scope and Content Note:
The papers of Boston and New York area painters Esther Baldwin Williams and daughter Esther Williams measure 2.1 linear feet and date from 1887 to 1984. The scattered papers of both women include biographical information, personal business records, correspondence, writings and notes, two diaries, four sketchbooks, printed materials, photographs, and one photograph album.

For clarity, Esther Baldwin Williams and Esther Williams are referred to by their proper names throughout this finding aid.

Biographical information includes a membership card to the Rockport Art Association for Esther Williams and a biographical sketch of Esther Baldwin Williams

Personal business records include receipts for purchases of artwork by Esther Baldwin Williams, banking documents, exhibition entry forms and sales receipts for Esther William's works.

Correspondence includes incoming letters and drafts of outgoing letters. The majority of the correspondence is that of Esther Williams, including a considerable amount of letters to her parents. There are letters to Esther Williams from her friends Louis Eilshemius, Furman J. Finck, and Leon Kroll, and both Grace Horne Galleries and Kraushaar Galleries. Esther Baldwin Williams' correspondence includes personal letters from Maurice Prendergast.

Writings and notes include two diaries kept by Esther Baldwin Williams that date from 1892 until 1902 and cover her life in Paris and later in Boston. Some of the diary pages are illustrated with sketches. The series also includes scattered notes, including Charles Prendergast's Notes on Formula of Ebonizing Technique.

There are four sketchbooks, likely by Esther Baldwin Williams, of pencil and watercolor sketches of cats, babies and children, orchestral scenes, portraits, and architecture.

Scattered printed materials include a copy of Cezanne's Studio given to Esther Baldwin Williams by Maurice Prendergast, a copy of a family history by Nadia Williams, exhibition announcements and catalogs, clippings, and miscellany.

There is one photograph of an unidentified work of art and a circa 1900 family photo album with mostly unidentified photos of babies, children, and family members.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Materials, 1942-1979 (2 folders; Box 1)

Series 2: Personal Business Records, 1893-1966 (9 folders; Box 1)

Series 3: Correspondence, 1887-1961 (0.7 linear feet; Boxes 1-2)

Series 4: Writings and Notes, 1892-1947 (0.2 linear feet; Box 2)

Series 5: Sketchbooks and Sketches, circa 1900 (0.2 linear feet; Boxes 2-3)

Series 6: Printed Material, 1883-1984 (0.2 linear feet; Box 3)

Series 7: Photographs, circa 1900-circa 1920 (0.3 linear feet; Boxes 3-4)
Biographical Note:
Esther Baldwin Williams (1867-1964) and her daughter Esther Williams (1907-1969) were painters active in Boston, Paris, and New York City.

Esther Baldwin Williams was born Esther Mabel Baldwin on December 11, 1867 to a prominent Boston family of artists. She began her art education under her uncle Joseph Foxcroft Cole and worked with her cousin Adelaide Chase Cole. Adelaide and Esther shared a studio in Greenwich Village in 1888. The two cousins also traveled to Paris in 1877 and 1891 to paint. Esther Baldwin concentrated on portraiture and often painted the women in her social circle.

Esther Baldwin became engaged to Oliver Williams in 1898. They married and moved to 96 Beacon Street in Boston where they raised their children, Oliver, Thomas, and Esther. Around 1900, the Williams met Maurice and Charles Prendergast. Esther became a friend and patron of Maurice and the two shared a studio for some time and exchanged letters. Esther Baldwin continued to work in portraiture, focusing her work on her children and relatives and did not pursue a professional career. In addition to painting, Esther Baldwin and Oliver Williams inspired a passion for music in their children.

Born in 1907, Esther Williams inherited her mother's interest in the arts. Unlike her mother, she desired a professional career as a painter. She first studied at the Museum of Fine Arts School, Boston in 1925 and later went to Paris to study under Andre Lhote. Upon returning to the United States, she moved to New York City and enrolled with the Art Students League. She married Roland Joseph McKinney, director of the Baltimore Museum of Art and the Los Angeles County Museum.

Esther Williams is known for her portraits, paintings of flowers, circus and orchestra scenes, and for her impressionistic style. She was represented by Grace Horne Gallery in the 1930s and switched to Kraushaar Galleries in 1940.

Esther Baldwin Williams died in 1964. Her daughter, Esther Williams died shortly thereafter in 1969.
Related Material:
Among the holdings of the Archives of American Art are the papers of Esther William's husband Roland Joseph McKinney.
Provenance:
The Esther Baldwin Williams and Esther Williams papers were donated in two installments by Peter McKinney, step-son of Esther Williams in 1974 and by Nadia Williams, Esther Baldwin William's daughter-in-law in 1985.
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 Esther Baldwin Williams and Esther Williams 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:
Painting, American  Search this
Expatriate painters -- France -- Paris  Search this
Women painters -- Massachusetts  Search this
Women painters -- New York (State) -- New York  Search this
Painting -- Technique  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Sketches
Citation:
Esther Baldwin Williams and Esther Williams papers, 1887-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.willesth
See more items in:
Esther Baldwin Williams and Esther Williams papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-willesth
Online Media:

Allen Townsend Terrell papers

Creator:
Terrell, Allen Townsend, 1897-1986  Search this
Names:
Laessle, Albert, 1877-1954  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketchbooks
Sketches
Travel diaries
Date:
1908-1982
Summary:
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.
Scope and Content Note:
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.

Biographical material includes a passport, membership cards for miscellaneous organizations, brief biographical accounts, and a guestbook containing signatures from several exhibition openings. There are almost daily letters written by Terrell to his parents describing his travels and education in the arts while in Europe. Scattered letters are from friends and colleagues, including one from Albert Laessle.

Fourteen diaries describe daily events in Terell's European travels. Scattered financial material includes banking records and miscellaneous receipts.

Three sketchbooks contain several block prints and miscellaneous sketches by Terrell. Printed material includes clippings, exhibition announcements and catalogs for Terrell and for others, as well as programs, and miscellaneous brochures. Photographs are of Terrell, and of his colleagues, studio, and artwork, in addition to albums containing photographs of his apartment, the Riverhead studio, commissioned projects, and exhibition installations.
Arrangement:
The collection is organized as 7 series; each series is arranged chronologically.

Series 1: Biographical Material, 1924-1978 (Boxes 1, 6; 3 folders)

Series 2: Letters, 1908-1978 (Boxes 1-3; 2.8 linear feet)

Series 3: Diaries, 1965-1978 (Boxes 3-4; 12 folders)

Series 4: Financial Material, 1925-1933 (Box 4; 7 folders)

Series 5: Artwork, 1925-1982 (Boxes 4, 6; 7 folders)

Series 6: Printed Material, 1911-1976 (Box 4; 15 folders)

Series 7: Photographs, 1925-1972 (Box 5; 15 folders)
Biographical Note:
Allen Townsend Terrell (1897-1986) was a painter and sculptor who worked in Paris, Rome, and New York. Terrell was born in Riverhead, New York and graduated from the Columbia University School of Architecture in 1921. He also studied painting and sculpture at the Art Students League with Edward McCartan and at the Pennsylvania Academy of Fine Arts with Albert Laessle. In 1924, he studied in France at the Conservatoire Américain de Fontainebleau with sculptor Charles Despiau, and at the Académie Julian in Paris.

Between 1924 and 1926, Terrell established a studio in Paris, later moving to Rome between 1928 and 1931. From 1934 to 1935, he taught watercolor and still life painting at the Parsons School of Design.

Among other exhibitions in Paris, New York, and Philadelphia, Terrell had a solo exhibition at the National Arts Club in 1975. He was a member of the American Watercolor Society and president of the Alumni of the American School at Fontainebleau.

Allen Townsend Terrell died on July 8, 1986.
Provenance:
Allen Townsend Terrell donated his papers in 7 installments between 1975 and 1981.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Allen Townsend Terrell 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:
Painters  Search this
Topic:
Travel -- Europe  Search this
Artists' studios -- Photographs  Search this
Art -- Study and teaching -- France -- Paris  Search this
Art -- Study and teaching -- Italy  Search this
Genre/Form:
Photographs
Sketchbooks
Sketches
Travel diaries
Citation:
Allen Townsend Terrell papers, 1908-1982. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.terralle
See more items in:
Allen Townsend Terrell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-terralle

Esther Baldwin Williams and Esther Williams papers, 1887-1984

Creator:
Williams, Esther Baldwin, 1867-1964  Search this
Williams, Esther, 1907-1969  Search this
Subject:
Williams, Esther  Search this
Prendergast, Maurice Brazil  Search this
Eilshemius, Louis M. (Louis Michel)  Search this
Finck, Furman J.  Search this
Williams, Nadia  Search this
Prendergast, Charles  Search this
Kroll, Leon  Search this
Grace Horne Galleries  Search this
Kraushaar Galleries  Search this
Type:
Photographs
Diaries
Sketchbooks
Sketches
Place:
Massachusetts -- Boston -- description and travel
France -- Paris -- description and travel
Topic:
Painting, American  Search this
Expatriate painters -- France -- Paris  Search this
Women painters -- Massachusetts  Search this
Women painters -- New York (State) -- New York  Search this
Painting -- Technique  Search this
Art -- Study and teaching -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)7339
(DSI-AAA_SIRISBib)209492
AAA_collcode_willesth
Theme:
Diaries
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209492
Online Media:

Olin Levi Warner papers, 1857-1962, bulk 1857-1899

Creator:
Warner, Olin Levi, 1844-1896  Search this
Subject:
Cook, Clarence  Search this
Warner, Sylvia Martinache  Search this
Eaton, Wyatt  Search this
Devens, Charles  Search this
Ryder, Albert Pinkham  Search this
Weir, Julian Alden  Search this
Fine Arts Federation of New York  Search this
World's Columbian Exposition  Search this
France  Search this
Jno. Williams, Inc.  Search this
Smithsonian Institution  Search this
Type:
Photographs
Place:
Paris (France) -- History -- Commune, 1871
Topic:
Artists' studios -- Photographs  Search this
Sculptors -- New York (State) -- New York -- Interviews  Search this
Art -- Study and teaching -- France -- Paris  Search this
Sculpture, American  Search this
Record number:
(DSI-AAA_CollID)6781
(DSI-AAA_SIRISBib)208907
AAA_collcode_warnolin
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208907
Online Media:

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