Search Results

Collection Creator:

Frank K. M. Rehn Galleries  Search this

Container:

Box 6

Reel 5857, Frame 312-395

Type:

Archival materials

Date:

1918-1965

Scope and Contents note:

Harshe, William R.

Hart, Mrs. Louis B.

Hart, Pop

Hart Publishing Co.

Hartford, Huntington (See also Gallery of Modern Art incorporating the Huntington Hartford Collection)

Hartman, Rosella

Hartog, Joseph

Hartwell, S. S.

Hartwick College

Harvard Alumni Bulletin

Harvey, F. Sailor

Hassam, Childe

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art

See more items in:

Frank K. M. Rehn Galleries records

Frank K. M. Rehn Galleries records / Series 1: Correspondence, A-Z

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b39737bb-c42c-4aba-b1ba-acd83f586078

EDAN-URL:

ead_component:sova-aaa-franrehg-ref213

Collection Creator:

Frank K. M. Rehn Galleries  Search this

Container:

Box 3

Reel 5852, Frame 995-1114

Type:

Archival materials

Date:

1921-1968

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art

See more items in:

Frank K. M. Rehn Galleries records

Frank K. M. Rehn Galleries records / Series 1: Correspondence, A-Z

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97f60691b-4fcf-4b0d-8893-bc067b640308

EDAN-URL:

ead_component:sova-aaa-franrehg-ref86

Collection Creator:

Hadzi, Dimitri, 1921-2006  Search this

Container:

Box 2, Folder 1-5

Type:

Archival materials

Date:

1946-2004

Collection Restrictions:

The collection is open for research. Archival audiovisual recordings must be digitized for research access. Researchers may access digitized audiovisual materials in the Archives' Washington, D.C. or New York, N.Y. Research Centers by appointment. Contact Reference Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Dimitri Hadzi papers, 1910s-2003. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

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Dimitri Hadzi papers

Dimitri Hadzi papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9901e256e-eeb1-4d38-8d2a-d9c2a157dc4f

EDAN-URL:

ead_component:sova-aaa-hadzdimi-ref62

Collection Creator:

Pollock, Jackson, 1912-1956  Search this

Krasner, Lee, 1908-1984  Search this

Container:

Box 7, Folder 14

Type:

Archival materials

Date:

1964-1983, undated

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Jackson Pollock and Lee Krasner papers

Jackson Pollock and Lee Krasner papers / Series 2: Lee Krasner Papers / 2.1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94b0d8ec7-f1fe-4d08-b41c-2ba3d8d636e1

EDAN-URL:

ead_component:sova-aaa-polljack-ref235

Collection Creator:

Pollock, Jackson, 1912-1956  Search this

Krasner, Lee, 1908-1984  Search this

Container:

Box 7, Folder 15

Type:

Archival materials

Date:

1965-1977

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Jackson Pollock and Lee Krasner papers, circa 1914-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Jackson Pollock and Lee Krasner papers

Jackson Pollock and Lee Krasner papers / Series 2: Lee Krasner Papers / 2.1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ea96fa69-501a-4dbf-ae60-6120c76ff06d

EDAN-URL:

ead_component:sova-aaa-polljack-ref236

Collection Creator:

Parsons, Betty  Search this

Container:

Box 38, Folder 8

Type:

Archival materials

Date:

circa 1941-1944

Series Restrictions:

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 7: Betty Parsons Personal Papers / 7.1: Early Curatorial Files / 7.1.1: Wakefield Gallery

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw999ce3024-2b6b-4b92-9680-3a78fb65d873

EDAN-URL:

ead_component:sova-aaa-parsbett-ref1456

Collection Creator:

Parsons, Betty  Search this

Container:

Box 15, Folder 7

Type:

Archival materials

Date:

circa 1965

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 1: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b3120a10-dd39-47ab-b721-8362e662a3a9

EDAN-URL:

ead_component:sova-aaa-parsbett-ref467

Collection Creator:

Parsons, Betty  Search this

Container:

Box 21, Folder 26

Type:

Archival materials

Date:

1951-1963

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Betty Parsons Gallery records and personal papers, 1916-1991. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art and The Walton Family Foundation.

See more items in:

Betty Parsons Gallery records and personal papers

Betty Parsons Gallery records and personal papers / Series 3: Correspondence Files / 3.1: Institutions and Dealers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93ef45c9f-1bcf-449b-b522-1c75d539952c

EDAN-URL:

ead_component:sova-aaa-parsbett-ref788

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Extent:

(Not scanned in entirety)

Container:

Box 3, Folder 14

Type:

Archival materials

Date:

undated

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Louise Nevelson papers

Louise Nevelson papers / Series 3: Subject Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a092845d-077f-4398-a3a6-738380f8a49d

EDAN-URL:

ead_component:sova-aaa-neveloui-ref101

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Container:

Box 38, Folder 10

Type:

Archival materials

Date:

1964-1965

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Louise Nevelson papers

Louise Nevelson papers / Series 4: Business Records / Business Records from Farnsworth Art Museum

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94cb3bd71-5592-468f-a9e4-3c6d5c6cc468

EDAN-URL:

ead_component:sova-aaa-neveloui-ref1238

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Container:

Box 1, Folder 23

Type:

Archival materials

Date:

1960s

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Louise Nevelson papers

Louise Nevelson papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95934a903-b52d-4a62-88f5-fc171943475e

EDAN-URL:

ead_component:sova-aaa-neveloui-ref31

Collection Creator:

Nevelson, Louise, 1899-1988  Search this

Extent:

(Boxes 1-2, 31-35, Sol 42; 6 linear feet)

Type:

Archival materials

Date:

1931-1984

Scope and Contents note:

Series consists primarily of Nevelson's professional correspondence, as well as some personal and family correspondence. Files are typically made up of letters, invitations, greeting cards, and telegrams received by Nevelson, copies of letters sent on her behalf (by lawyers and assistants) or shared with her by others, and photographs, press releases, clippings, and other printed material enclosed with correspondence. Correspondents include artists, dealers, museums, universities, art critics, collectors, arts-related and social organizations, admirers, along with some friends, colleagues, and family members in addition to her son. (See appendix for a select list of notable correspondents.)

General correspondence details the exhibition of Nevelson's work in various group and one-man shows; the consignment, sale, and disposition of her work, especially her dealings with the Martha Jackson Gallery and Daniel Cordier (in Europe); her donations of art work to museums and universities, and for auction by charitable organizations; and the various honors and awards received by her later in her career (including the Creative Arts Medal in Sculpture from Brandeis University and honorary degrees from the Philadelphia College of Art and Bowdoin College, among others). General correspondence also concerns Nevelson's various art-related activities, including her participation on various panels, and in workshops, conferences, and lecture series on art; her involvement in professional organizations, such as the Sculptor's Guild; and her service on various award juries and arts committees (such as the Arts and Entertainment Committee for the Rockefeller Team).

Correspondence is arranged chronologically. Correspondence in this series from the 1966-1979 acquisition has been scanned in its entirety, except for Louise Nevelson's correspondence with her son, Mike. The bulk of correspondence donated by the Farnsworth Art Museum includes an item-level inventory, and is mostly separated by personal and business subject matter.

See Appendix for a list of selected correspondents from Series 2.

Appendix: Selected Correspondents from Series 2:

List represents only a selection of correspondents and does not include names of family.

Albright-Knox Art Gallery: 1971

American Federation of Arts: 1961, 1964

American Women in Radio and Television: 1959

Art in America -- : 1963, 1965

Art Institute of Chicago: 1962

The Artists' Gallery: 1955

Bloch, Ernest: 1933

Bourgeois, Louise: undated

Bowdoin College: 1971

Brandeis University: 1971

Brooklyn Museum: 1956

Brooklyn Society of Artists: 1957

Buffalo Fine Arts Academy: 1962

Calder, Sandy: 1955

Chatham College: 1971

City of Scottsdale, Arizona: 1973

Cleveland Museum of Art: 1977

Colby College: 1957, 1973

Contemporary Arts Association of Houston: 1953

Cordier, Daniel: 1961

Dallas Museum of Fine Arts: 1974

Dehner, Dorothy: 1960

Detroit Institute of the Arts: 1966

Dord Fitz School and Gallery: 1960

Feininger, Lyonel: 1955

Galerie Jeanne-Bucher: 1961

Genauer, Emily: 1955

Grand Central Art Galleries: 1959

Guggenheim, Peggy: 1946

Hamline University: 1970, 1971

Harry Salpeter Gallery: 1961

Hirschhorn, Joseph: 1968

Hobart and William Smith Colleges: 1971

Indiana, Robert: 1966

Jackson, Martha (See Martha Jackson Gallery)

Jacobi, Lotte: 1960, 1963, 1965

Kendall, Tom: 1959, 1961, undated

Knox, Seymour: 1968

Kramer, Hilton: 1957

Lipman, Howard: 1962

Lipton, Seymour: 1955

Mademoiselle -- : 1961, 1962

Martha Jackson Gallery: 1956, 1959, 1960, 1961, 1962, 1967, 1968, undated

Massachusetts Institute of Technology, Center for Advanced Visual Studies: 1971

Miller, Kenneth Hayes: 1931, 1933

Milone, Joe: 1941

Minneapolios College of Art and Design: 1971

Mount Holyoke College: 1962, 1964

Museum of Art, Carnegie Institution: 1967, 1971, 1974

Museum of Fine Arts of Houston: 1954

Museum of Modern Art: 1943, 1953, 1955, 1964, 1967, 1968

National Association of Women Artists: 1953, 1954

National Foundation on the Arts and Humanities: 1966

Neumann, Hans: 1962

Neumann, J. B.: 1954

New School for Social Research: 1961

The New York Times -- : 1968

New York State Council on the Arts: 1968

The New Yorker -- : 1967

Newsweek -- : 1967

Nierenforf, Karl: 1941, 1943, 1946

Nordjyllands Kunstmuseum: 1973

Ono, Yoko: 1971

Pace Gallery: 1976

Pennsylvania Academy of Fine Arts: 1952, 1970

Philadelphia College of Art: 1961, 1968

Philadelphia Museum of Art: 1965

Princeton University: 1962

Queens College: 1958

Rhode Island School of Design: 1971

Riverside Museum: 1964

Rockefeller, Nelson: 1960, 1962, 1966, 1968

Roberts, Collette: 1952, 1953

Robus, Hugo: 1958

Rosenblum, Robert: 1958

Sewall, Mrs. Sumner: 1943

Silvermine Guild of Artists: 1953, 1954, 1955

Skowhegan School of Painting and Sculpture: 1970, 1971

Solomon R. Guggenheim Museum: 1964, 1966

Tamarind Lithography Work Shop: 1971

Tate Gallery: 1963, 1966, 1967, 1968

Teachers College, Columbia University: 1964

Trenton State College: 1961

Tyler, Parker: 1958

United States Committee of the International Association of Art: 1971

University of Alabama, Department of Art: 1964

University of Bridgeport: 1971

University of Nebraska Art Galleries: 1951

Vogue -- : 1964

Wadsworth Atheneum Museum of Art: 1962

Walker Art Center: 1971, 1973

Weber, Max: 1947, 1948, 1950, 1951

Western College for Women: 1964

The White House: 1974

Whitney Museum of American Art: 1950, 1956, 1957, 1962, 1964, 1966, 1967

Wichita State University: 1974

The Woman's College of The University of North Carolina: 1951

Women's Interart Center: 1973

Yale University, Department of Art: 1961

Collection Restrictions:

The bulk of this collection has been digitized and is available online via AAA's website, with the exception of the 2017 addition. Use of material not digitized requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Louise Nevelson papers, circa 1903-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for a portion of the processing and digitization of this collection was provided by the Terra Foundation for American Art. Additional processing received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.neveloui, Series 2

See more items in:

Louise Nevelson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93cd690b9-9c7f-4b65-95a4-9fb34488e325

EDAN-URL:

ead_component:sova-aaa-neveloui-ref37

Creator:

Carnegie Institute, Museum of Art  Search this

Names:

Art Institute of Chicago  Search this

Buffalo Fine Arts Academy  Search this

Corcoran Gallery of Art  Search this

Gallery of William Macbeth  Search this

M. Knoedler & Co.  Search this

Metropolitan Museum of Art (New York, N.Y.)  Search this

Alexander, John White, 1856-1915  Search this

Beatty, John W. (John Wesley), 1851-1924  Search this

Beaux, Cecilia, 1855-1942  Search this

Brush, George de Forest, 1855-1941  Search this

Chase, William Merritt, 1849-1916  Search this

Church, Samuel Harden  Search this

East, Alfred, Sir, 1849-1913  Search this

Hassam, Childe, 1859-1935  Search this

Homer, Winslow, 1836-1910  Search this

Saint-Gaudens, Homer, b. 1880  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Extent:

265.8 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Letterpress books

Museum records

Place:

Spain -- History -- Civil War, 1936-1939

Date:

1883-1962

bulk 1885-1962

Summary:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

Scope and Contents:

The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.

Arrangement:

The collection is arranged into six series:

Missing Title

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)

Biographical / Historical:

The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.

Provenance:

The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art -- Economic aspects  Search this

World War, 1914-1918  Search this

Depressions -- 1929  Search this

Art, Modern -- Exhibitions  Search this

Fascism  Search this

World War, 1939-1945  Search this

Museum directors  Search this

Function:

Art museums -- Pennsylvania

Genre/Form:

Photographs

Letterpress books

Museum records

Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.carninst

See more items in:

Carnegie Institute, Museum of Art records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-carninst

Collection Creator:

Carnegie Institute, Museum of Art  Search this

Container:

Box 22, Folder 84-86

Type:

Archival materials

Date:

1907-1916

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Carnegie Institute, Museum of Art records

Carnegie Institute, Museum of Art records / Series 1: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-carninst-ref1096

Collection Creator:

Carnegie Institute, Museum of Art  Search this

Container:

Box 23, Folder 1-6

Type:

Archival materials

Date:

1917-1932

1934-1936

1939-1940

Collection Restrictions:

Use of original papers requires an appointment.

Collection Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.

See more items in:

Carnegie Institute, Museum of Art records

Carnegie Institute, Museum of Art records / Series 1: Correspondence

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-carninst-ref1097

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 22, Folder 27

Type:

Archival materials

Date:

1940

Scope and Contents note:

(Jozef Bakos; Joseph Barber; Gifford Beal; Reynolds Beal; Louis Bouché; Brooklyn Museum)

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 2: Incoming Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ee313183-1cc9-40d4-9e7a-c023825d4140

EDAN-URL:

ead_component:sova-aaa-kraugall-ref1791

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 24, Folder 40

Type:

Archival materials

Date:

1943

Scope and Contents note:

(an exhibition of The Eight)

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 2: Incoming Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e9ba5077-8047-4244-a2e4-0977785b17bd

EDAN-URL:

ead_component:sova-aaa-kraugall-ref1967

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 27, Folder 22

Type:

Archival materials

Date:

1946

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 3: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9492fd3e3-ddf2-4b5f-90d3-5651ab8a5ddb

EDAN-URL:

ead_component:sova-aaa-kraugall-ref2168

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 39, Folder 12

Type:

Archival materials

Date:

1955

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 3: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw919d44b8e-8d0f-4568-b977-30aa2286d9b7

EDAN-URL:

ead_component:sova-aaa-kraugall-ref2927

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 40, Folder 19

Type:

Archival materials

Date:

1956

Scope and Contents note:

(purchase of Nude with Apples by William J. Glackens)

Collection Restrictions:

Use of originals requires an appointment. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 3: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9360ec842-ed7b-4050-8e23-2f0c62d3919a

EDAN-URL:

ead_component:sova-aaa-kraugall-ref3007