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Emerson Crosby Kelly research material relating to J. Francis Murphy

Creator:
Kelly, Emerson Crosby, 1899-  Search this
Hollinger & Co. photography firm.  Search this
Photographer:
Moffett (Firm)  Search this
Sarony, Napoleon, 1821-1896  Search this
Vandyk, C.  Search this
Names:
National Academy of Design (U.S.)  Search this
Pestalozzi Foundation of America  Search this
Salmagundi Club  Search this
Carlsen, Emil, 1853-1932  Search this
Murphy, Adah Clifford, 1860-1949  Search this
Murphy, John Francis, 1853-1921  Search this
Murphy, John Francis, 1853-1921 -- Catalogues raisonnés  Search this
Extent:
16.7 Linear feet ((on 21 microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Place:
Arkville (N.Y.) -- Pictorial works
Date:
1761-1973
Scope and Contents:
Biography and catalogue raisonné of J. Francis Murphy by Emerson Crosby Kelly, M.D., and correspondence relating to Dr. Kelly's interest in Murphy. Personal papers of J. Francis Murphy and Adah Clifford Smith Murphy include diaries and notebooks, correspondence, Smith and Murphy family documents, financial records, printed matter, artifacts, photographs, and works of art.
Research notes, drafts, and manuscript of an unpublished biography, "J. Francis Murphy, N.A., (1853-1921): Tints of a Vanished Past," and illustrated catalogue raisonne of the works of J. Francis Murphy by Emerson Crosby Kelly (1953). Kelly corresponded with friends and relatives of the Murphys, with owners of Murphy paintings, publishers, printers, and possible financial backers for his book. Also documented is Dr. and Mrs. Kelly's involvement in the sale of "Weedwild," the Murphy's Arkville, N.Y. home, to the Pestalozzi Foundation of America.
Diaries of J. Francis Murphy (25 vols.) contain very brief entries that faithfully record weather conditions, garden progress, and other nature notes, with occasional mention of social engagements or service on art juries; entries recorded during trips to Europe mainly list places visited with little elaboration. Notebooks (16 vols.) include painting registers, daily listings of mail sent and received, address books, and jottings relating to Indian relics, his farmland, and paintings sent to dealers. Mrs. Murphy's diaries (46 vols.) also contain very brief entries mentioning friends, social engagements, travels, and an "Account of the pictures I painted and gave away. Portraits of them. + landscapes + old houses." Her notebooks (4 vols.) contain "Notes for a book. J.F.'s".
Correspondence concerns family matters, exhibitions, sales, professional memberships, involvement with the Salmagundi Club and National Academy of Design, and the couple's finances. Whenever separated, the Murphys exchanged lengthy letters with one another; the majority of these are from husband to wife.
Receipts and invoices are mainly for art supplies, framing, and shipping costs; expense records for personal purchases and farm upkeep and improvements; taxes; and legal papers concerning a property boundary dispute and lawsuit against the Murphys.
Photographs are of Mr. and Mrs. Murphy, their families and ancestors, friends, studios, "Weedwild" (country home) and surrounding Arkville, N.Y. area, landscape subjects, works of art by the Murphys, medals and certificates of award. Six tintypes are included. Photographers include: Hollinger, Moffett, Napoleon Sarony, and C. Vandyk. Commercially produced stereographs mainly depict U.S. scenes.
Art works consist of sketchbooks, oil sketches, and works of art on paper by both Murphys, Emil Carlsen, and other artists (ca. 500 items).
Other materials include exhibition catalogs and announcements, clippings, scrapbooks (probably compiled by Mrs. Murphy ca. 1885), medals awarded to J. Francis Murphy, copper plate etched by Adah C. Murphy, and artifacts.
Arrangement:
I. Writings and Research Notes. II. Kelly Correspondence and Miscellaneous Files. III. J. Francis and Adah Clifford Smith Murphy Papers.
Biographical / Historical:
Emerson Crosby Kelly, M.D., art collector, surgeon, and medical bibliographer; d. 1977. J. Francis Murphy, landscape painter and one of the leading tonalists of the American Barbizon school, lived and worked in New York City and Arkville, N.Y. Studied very briefly at the Chicago Academy of Design, 1875. Member of the National Academy of Design and active in the Salmagundi Club. His wife, Adah Clifford Smith Murphy, a painter and illustrator, studied at the Female Art School of the Cooper Union for the Advancement of Science and Art.
Provenance:
The donor, Sydney Kelly, is the widow of Dr. Emerson Crosby Kelly. Dr. Kelly acquired the Murphy papers in 1949 from Hulda Gregerson, Mrs. Murphy's long-time companion, for the purpose of writing a biography and catalogue raisonne of J. Francis Murphy.
Occupation:
Biographers  Search this
Illustrators -- New York (State)  Search this
Landscape painters -- New York (State)  Search this
Topic:
Artists' studios -- Photographs  Search this
Landscape painting, American -- New York (State)  Search this
Art -- Collectors and collecting -- New York (State)  Search this
Painters -- Biography  Search this
Women painters -- New York (State)  Search this
Genre/Form:
Drawings
Sketchbooks
Identifier:
AAA.kellemer
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kellemer

Claude Buck papers

Creator:
Buck, Claude, 1890-1974  Search this
Jane Freeman Gallery (La Mesa, Calif.)  Search this
Names:
Bellows, George, 1882-1925  Search this
Bontoux, August  Search this
Carlsen, Dines  Search this
Carlsen, Emil, 1853-1932  Search this
Cox, Kenyon, 1856-1919  Search this
Polasek, Albin, 1879-1965  Search this
Extent:
3.3 Linear feet ((on 7 microfilm reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1912-1982
Scope and Contents:
Letters, photographs, original art works, printed materials, scrapbooks, biographical information, and writings.
REELS 2982-2987: Family correspondence, including letters between Buck and his parents, his wife, Estrid, and other family members; general correspondence, including letters from George Bellows, August Bontoux, Emil and Dines Carlsen, Kenyon Cox, Albin Polasek, and the Jane Freeman Gallery; a genealogical table, an autobiographical sketch, and birth and wedding announcements and a resume; an open letter to the Trustees of the Art Institute of Chicago; original art works including sketches, drawings, and a print; printed materials, including exhibition catalogs, announcements, invitations, clippings, published reproductions of artworks, and reviews; and miscellany, including teaching announcements, press releases and clippings.
Also included are writings on art; an album of photographs of works of art; photographs of Buck and his art work; a blueprint of Buck's studio in Midlothian, Illinois; financial material consisting of price lists for works of art, bills, receipts, and permit fees; four scrapbooks containing clippings, exhibition catalogs and announcements, photographs, writings and memorabilia; exhibition catalogs; an unpublished manuscript, "The Divine Dance" by Ruth St. Denis, 1933; and an unfinished manuscript by Buck, "How I Was Taught by the Old Masters," including drawings and photographs of family portraits and other paintings by Buck.
REEL 4588: A scrapbook, 1 v., ca. 1917-1969, containing: letters; newspaper and magazine clippings about Buck, his wife Leslie, and father William; Buck's statements against the jury system of the Santa Barbara Art Association 1963; exhibition checklists; photographs of Buck and his paintings; pencil sketches; and miscellany. Also included are written comments from visitors to his exhibition at the Oakland Art Gallery, September 1945, and the Santa Cruz Art League Gallery, May 1954, noting the "best" and "least liked" paintings.
Biographical / Historical:
Painter; Santa Cruz, Calif. and New York, N.Y. Studied with Emil Carlsen and George de Forest Brush. Painted in a luministic and symbolic style.
Provenance:
Donated 1982-1992 by Diana V. Link, Buck's niece, by Mrs. Claude Buck, Buck's widow, and by Juel Buck Krisvoy-Schiller, Buck's daughter. Five works of art were transferred to the National Museum of American Art, including a self-portrait.
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 -- New York (State) -- New York  Search this
Painters -- California -- Santa Cruz  Search this
Topic:
Painting, American -- California -- Santa Cruz  Search this
Painting, American -- New York (State) -- New York  Search this
Symbolism in art -- United States  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.buckclau
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-buckclau

Charles Henry Turner papers

Creator:
Turner, Charles Henry, 1848-1908  Search this
Names:
Carlsen, Emil, 1853-1932  Search this
Garrett, Edmund H. (Edmund Henry), 1853-1929  Search this
Lesrel, Adolphe Alexandre  Search this
Murray, Henry -- Art of painting and drawing in coloured crayons  Search this
Extent:
0.54 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Date:
1875-circa 1973
bulk circa 1890-circa 1910
Summary:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Scope and Contents:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Arrangement:
The collection is arranged as one series.

Series 1: Charles Henry Turner Papers, 1875-circa 1973 (0.5 linear feet; Box 1, OV 2, MGP 1-2)
Biographical / Historical:
Massachusetts and New Hampshire painter and printmaker Charles Henry Turner (1848-1908) was known for his landscapes, portraits, illustrations, and genre scenes. Born in Newburyport, Massachusetts, Turner studied under Otto Grundmann at the Boston Museum of Fine Arts School in the late 1870s. He studied in Europe in the 1880s, before returning to Boston, where he had a studio above his home on Mount Vernon Street.

Turner established a summer home in the White Mountains of New Hampshire and built a studio resembling a Swiss chalet on a hillside in Jackson, where he and his family spent many summers.

Turner was a member of the Unity Art Club and served as president of the Boston Art Club, where his work was exhibited many times. His work was also exhibited at the Pennsylvania Academy of Fine Arts.
Separated Materials:
Also in the Archives of American Art is material lent for microfilming (reel 4781) including drawings, a watercolor by Turner, and two charcoal landscapes by Edmund H. Garrett and [Emil?] Carlsen. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The collection was donated to the Archives of American Art by G. Frances Souther, granddaughter of Turner, in 1973 and 1979. The artworks on reel 4781 were lent for microfilming in 1993 by Robert and Connie Rosen, antiques dealers, who purchased the material at auction. The drawings may have come from Miss Souther's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Charles Henry Turner 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:
Artists' studios -- France -- Paris -- Photographs  Search this
Artists' studios -- New Hampsire -- Jackson -- Photographs  Search this
Artists' studios -- Pictorial works  Search this
Painting, Modern -- 19th century  Search this
Etching -- 19th century  Search this
Etchers  Search this
Genre/Form:
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Citation:
Charles Henry Turner papers, 1875-circa 1973, bulk 1890-1910. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnchar
See more items in:
Charles Henry Turner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-turnchar
Online Media:

Ferargil Galleries records

Creator:
Ferargil Galleries  Search this
Names:
Arkell, Bartlett  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bliss, Lizzie P. (Lizzie Plummer), 1864-1931  Search this
Carlsen, Emil, 1853-1932  Search this
Dabo, Leon, 1868-1960  Search this
Davey, Randall, 1887-1964  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Diedrich, Hunt  Search this
Lawson, Ernest, 1873-1939  Search this
Lowrie, Agnes Potter  Search this
Lucioni, Luigi, 1900-1988  Search this
Miller, Barse, 1904-1973  Search this
Parrish, Maxfield, 1870-1966  Search this
Parsons, Lloyd  Search this
Pike, John, 1911-1979  Search this
Platt, Dan Fellows, 1873-1938  Search this
Price, F. Newlin (Frederic Newlin)  Search this
Sample, Paul, 1896-1974  Search this
Sawyer, Wells, 1863-1960  Search this
Van Soelen, Theodore  Search this
Van Vleck, Natalie, 1901-1974  Search this
Willams, Lois  Search this
Photographer:
Käsebier, Gertrude, 1852-1934  Search this
Extent:
18.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Drafts (documents)
Gallery records
Scrapbooks
Sketches
Date:
circa 1900-1963
Summary:
The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.
Scope and Content Note:
The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.

Correspondence is both incoming and outgoing and documents the day-to-day activities of the galleries, primarily from the 1920s to the 1950s. Significant correspondence with, or relating to, many of the artists represented by Ferargil Galleries can be found here including correspondence with Bartlett Arkell, Thomas Hart Benton, Randall Davey, Hunt Diedrich, Ernest Lawson, Agnes Potter Lowrie, Luigi Lucioni, Barse Miller, Maxfield Parrish, John Pike, Paul Sample, Wells M. Sawyer, Theodore van Soelen and many others.

Artist files consist primarily of material compiled about artists represented by Ferargil Galleries, including biographical information, press releases for exhibitions, and scattered price lists and information about individual works of art.

Estate and legal records include estate inventories for the estates of Lizzie P. Bliss, Arthur B. Davies, and Dan Fellows Platt, and document several legal actions involving Ferargil Galleries. Of particular significance are the records documenting Price's involvement with the estate of Arthur B. Davies, including correspondence with Davies's wife, Virginia, and sales and inventory records for Davies's artwork at Ferargil Galleries and elsewhere.

Business and financial records date primarily from the 1920s and document inventories, sales, insurance, shipping, and taxes for the bulk of the gallery's operating years.

Printed material contains Ferargail Galleries exhibition catalogs and announcements from 1918 to the 1950s in addition to scattered printed material from other galleries and one folder relating to Arthur B. Davies.

Scrapbooks provide a more comprehensive and detailed history of the gallery's exhibitions, through multiple news clippings of press coverage, in addition to catalogs, announcements, and photographs. Of particular note is a circa 1908 photograph of Arthur B. Davies taken by Gertrude Kasëbier.

Scattered personal records of Frederic Newlin Price document Price's work with the Benjamin West Society at Swarthmore College and further reveal Price's interests through an inventory of his art collection and drafts and copies of his writings on artists such as Arthur B. Davies, and on changing trends and tastes in the art world.

A small series of artwork includes 6 pencil sketches, a print, 3 plans, and an Arthur B. Davies exhibition catalog mock-up with pencil sketches, all by unidentified artists.

Gallery photograph files include some photos of artists such as Emil Carlsen, Leon Dabo, Lloyd Parsons, Natalie Van Vleck and Lois Williams, in addition to 13 folders of photos relating to collections and exhibitions, and photographs of artwork.
Arrangement:
The collection is arranged as 9 series:

Series 1: Correspondence, 1920s-1963 (Boxes 1-15; 6.0 linear ft.)

Series 2: Artist Files, circa 1920s-1950s (Boxes 16-17; 0.7 linear ft.)

Series 3: Estate and Legal Records, circa 1925-circa 1939 (Boxes 17-18; 0.3 linear ft.)

Series 4: Business and Financial Records, 1919-1956 (Boxes 18-21; 1.2 linear ft.)

Series 5: Printed Material, circa 1900-1956 (Boxes 21-22; 0.7 linear ft.)

Series 6: Scrapbooks, circa 1920s-1950s (Boxes 23-34, 40, OV 41; 5.4 linear ft.)

Series 7: Frederic Newlin Price Records, 1920s-1950s (Box 34; 6 folders)

Series 8: Artwork, circa 1920s-circa 1950s (Box 34, OV 41; 2 folders)

Series 9: Photographs, circa 1920-1950s (Boxes 35-39, OV 40; 4.4. linear ft.)
Historical Note:
Frederic Newlin Price (1884-1963) opened Ferargil Galleries in 1915 at 24 East 49th Street and 607 Fifth Avenue in New York City. Art critic W. Frank Purdy (1865-1943)was the President of the Art Alliance of America in 1918 and director of the School of American Sculpture worked at the galleries as director of sculpture.

Named from a combination of "fer" (ferrous-iron) and "argil" (clay), Ferargil Galleries dealt in wrought iron, sculpture, paintings and prints, and focused on exhibitions of work by American artists such as George Bellows, Thomas Hart Benton, Emil Carlsen, John Steuart Curry, Arthur B. Davies, W. Hunt Diederich, Thomas Eakins, Edward Hicks, Ernest Lawson, Albert P. Ryder and Grant Wood. Ferargil was also known for its representation of a group of contemporary watercolorists including Charles Dickinson, Phil Dike, Hardie Gramatky, Barse Miller, and Paul Sample.

In 1927 the business moved to 37 East 57th Street (later 63 East 57th Street) and housed a print room, a sculpture gallery with a fountain, and the main painting galleries.

In 1931 Price became the Director of the newly-formed Benjamin West Society at his alma mater, Swarthmore College. There, he promoted the arts at Swarthmore through annual lectures and exhibitions by contemporary artists and also acquired artwork for the college, primarily by Benjamin West. Price served as President of the American Art Dealers Association in the early 1930s and published a number of books and articles on artists including Arthur B. Davies, Walter Griffin, Eric Hudson, Ernest Lawson, Arthur P. Ryder and Horatio Walker.

Price closed Ferargil Galleries in 1955.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D321-D322, and N68-14-N68-15) including personal and business correspondence with artists and other records. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1958, Frederic Newlin Price donated circa 70 letters to the Archives of American Art and loaned material for microfilming on reels D321-D322. The remaining records were donated anonymously in 1968.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Ferargil Galleries records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art dealers -- New York (State) -- New York  Search this
Art, American -- New York (State) -- New York  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Gallery owners  Search this
Genre/Form:
Photographs
Prints
Drafts (documents)
Gallery records
Scrapbooks
Sketches
Citation:
Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.feragall
See more items in:
Ferargil Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-feragall
Online Media:

Dines and Emil Carlsen letters to Helen Elizabeth Keep

Creator:
Carlsen, Dines  Search this
Carlsen, Emil, 1853-1932  Search this
Names:
Keep, Helen E. (Helen Elizabeth), 1868-  Search this
Extent:
12 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1932-1957
Scope and Contents:
Two letters from Emil Carlsen replying to Miss [Helen Elizabeth] Keep, which critique four of her paintings; and ten letters from Dines Carlsen to Keep, touching primarily on art and health related subjects. Accompanying some of the letters are photographic enlargements.
Biographical / Historical:
Painters. Emil Carlsen (1853-1932) was born in Copenhagen, Denmark. He came to the U.S. in 1872, and worked in New York City. He trained his son, Dines (1901-1966). Helen Elizabeth Keep was a painter in Detroit, Mich., who studied at the Art Institute of Chicago and Massachusetts Institute of Technology. She greatly admired the still life painting of Emil Carlsen and sought his advice regarding her own.
Provenance:
Two letters from Helen Keep to Constance Coleman (Mrs. E. P.) Richardson originally microfilmed with the Carlsen letters (frames 398-399 & 430-431) have been placed in the collection file.
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  Search this
Still-life painters  Search this
Topic:
Women painters -- Michigan -- Detroit  Search this
Identifier:
AAA.carldine
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carldine

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