Correspondence; photographs; writings and lecture notes; and printed material; and a scrapbook.
Circa 300 personal letters, 1945-1970, to Pollack from painter Richard Florsheim.
Files of correspondence and clippings pertaining to Pollack's career as a curator and photography historian. Most of the files concern Pollack's book "The Picture History of Photography." Other files concern Pollack's work on publications for Harry N. Abrams, Inc., the Worcester Art Museum and the Art Institute of Chicago. Also included are writings and lecture notes; a few letters and clippings from scrapbooks; and miscellany. Correspondents include: Ansel Adams, Gyuia Halasz Brassai, Sylvan Cole, Julio De Diego, Helmut Gernsheim, Philippe Halsman, Dimitrios Harissiadis, Yousuf Karsh, Grace M. Mayer, and Beaumont Newhall.
Personal correspondence, 1954-1976, with Richard Florsheim discussing various career choices and projects, exhibition openings, Florsheim's art dealers, and book projects Florsheim was involved in; project files, 1948-1962, regarding Pollack's position as the New York City-based Public Relations Consultant for the Archives of American Art, the Cincinnati Art Museum, the Guggenheim, and other institutions. Included are letters, news releases, catalogs, announcements and some photographs and clippings of such projects as the International Biennial of Prints and the AAA European art tour trip.
Also included is a scrapbook, 1939-1943, concerning exhibitions and activities of the South Side Community Art Center, Chicago, sponsored by the Illinois Art Project of the WPA-FAP and supervised by Pollack, 1938-1942. The center's purpose was to advance African American art and artists. Included are by-laws; letters from Alain Locke, and Richmond Barthe; photographs of Pollack, Jules Carlen, Horace Pippin, Eldzier Cortor, Canada Lee, Julio de Diego, Jesus Torres, and Eleanor Roosevelt at the dedication of the center, 1941; a typescript of a lecture by Daniel Catton Rich "The Art Museum and the Community Art Center," delivered at the Museum Director's conference, Detroit Institute of Arts, May 1940, newspaper clippings, exhibition announcements and catalogs and other printed material.
Biographical / Historical:
Peter Pollack (1909-1978) was a photographer, curator, historian, and writer in New York, N.Y.
Provenance:
Material on reels 822 and 4886-4887 donated 1974-1977 by Pollack, except for the scrapbook which was donated by Jane de Hart, an art historian at the University of North Carolina at Chapel Hill, who received it from Pollack for her research on African American artists and WPA projects. Material on reels 2385-2390 was lent for microfilming in 1981 by Creilly Pollack, Pollack's widow.
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.
Unmicrofilmed: Research files for Hendricks's books, EADWEARD MUYBRIDGE, FATHER OF THE MOTION PICTURE, 1975; THE PHOTOGRAPHS OF THOMAS EAKINS, 1972; WINSLOW HOMER, 1979; AND ALBERT BIERSTADT: PAINTER OF THE AMERICAN WEST, 1979, containing correspondence, manuscripts, notes, photographs, clippings and printed material. Also included are vintage photographs by Bradley and Rulofson, I.W. Taber, Carleton E. Watkins and the Bierstadt Brothers, and an advertisement "Proposal for Publishing an Engraving of Mr. Bierstadt's picture of the Rocky Mountains."
Reel 3002: Research files for Hendricks's unpublished book on William Bradford, a New Bedford, Mass. marine painter. Included are correspondence, notes, slides, photographs, clippings, printed material, and a list of Bradford's paintings.
Provenance:
Material on reel 3002 lent for microfilming 1983 by the New Bedford Whaling Museum; unmicrofilmed material donated 1983 by Guido Castelli.
Restrictions:
Unmicrofilmed gift: use requires an appointment and is limited to Washington, D.C. office.
Material on William Bradford (loan): Patrons must use microfilm copy.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Currently stored in box 1.1.28 [160A], moved from [158].
Similar to RSN 7252. Orig. no. 115A.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Similar--but not identical--to RSN 19549. Obviously made on same occasion, however.
Currently stored in box 3.1.6 [178].
Company acc. no. 77598.
Collection Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. The original glass plate is available for inspection if necessary in the Archives Center. A limited number of fragile glass negatives and positives in the collection can be viewed directly in the Archives Center by prior appointment. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Correspondence with dealers, artists, museums, publishers, photography studios, and others regarding art purchases, loans, and Shaw's collection; and 16 v. of scrapbooks containing photographs, letters, and biographical information on artists. Much of the correspondence with artists relates to Shaw's requests for the information which was then used in the scrapbooks. Also included is one volume compiled in 1947 outlining the contents of the scrapbooks.
REELS 1124-1125: 16 vol. of scrapbooks, 1864-1930, relating to artists represented in Shaw's collection, containing letters, many from artists, photographs of artists and their work, biographical data, clippings and articles, and comments on their work; and 1 v., "Notes: Edwin C. Shaw Collection of Paintings," compiled in 1947, and annotated "Used at Women's Art League Meeting at Miss Shaw's in 1947 by Mrs. [Jane S.] Barnhardt, who compiled it, and then given to the Art Institute Library," containing an outline of the contents of the 16 v. of scrapbooks.
Artists represented in the scrapbooks include J. Carroll Beckwith, Frank W. Benson, Ralph Blakelock, Emil Carlsen, William Merritt Chase, Timothy Cole, Elliott Daingerfield, Cyrus B. Dallin, Charles Davis, Warren Davis, Gleb Derujinsky, Charles M. Dewey, Thomas W. Dewing, Paul Dougherty, Frank Duveneck, Charles Eaton, Frederick Frieseke, George Fuller, Lillian Genth, Childe Hassam, Charles Hawthorne, William Morris Hunt, George Inness, John Johansen, Isidore Konti, John La Farge, William Lathrop, Frederick MacMonnies, Hermon A. MacNeil, Willard Metcalf, Herman Dudley Murphy, J. Francis Murphy, A. Phimister Proctor, Henry Ward Ranger, William Ritschel, Felix Russmann, Albert P. Ryder, Eugenie F. Shonnard, Lars Gustaf Sellstedt, Elliot Torrey, Dwight Tryon, Helen M. Turner, John Twachtman, Elihu Vedder, Bessie P. Vonnoh, Robert Vonnoh, Horatio Walker, J. Alden Weir, Frederick Ballard Williams, Henry Wolf and "The Ten."
REEL 4597: Correspondence, ca. 1916-1941, concerning art acquisitions with dealers Erwin S. Barrie of Grand Central Art Galleries; Thomas Whipple Dunbar; Frederic Newlin Price and T.H. Russell of Ferargil Galleries; W. Frank Purdy of the Gorham Co. Dept. of Sculpture and later the School of American Sculpture; D.H. Hatfield of Hatfield & Clark; Thomas Gerrity of M. Knoedler & Co.; Robert Macbeth, Robert McIntyre and Henry Miller of the Macbeth Gallery; Albert Milch of E.& A. Milch, Inc.; Newman Montross of Montross Gallery; J.E. Batts of the Thurber Art Galleries; Robert C. Vose of R.C. & N.M. Vose and Vose Galleries, and their frame shop, Carrig-Rohane; Howard Young of Howard Young Galleries; and J.W. Young; correspondence with artists and/or their families requesting the artist's portrait, biographical information and background, including letters from Elliot Daingerfield, Charles Dewey, Thomas Wilmer Dewing, John C. Johansen, Willard Leroy Metcalf, Hervey W. Minns, Hermann Dudley Murphy, A.P. Proctor, Eugenie Shonnard, Elliot Torrey, Dwight W. Tryon, Helen M. Turner, and Horatio Walker, and the families of J. Carroll Beckwith, George Inness, Lars Gustaf Sellstedt, John Henry Twachtman and J. Alden Weir; correspondence with the Dayton Art Museum and the Metropolitan Museum of Art regarding works lent for exhibition; with publisher Frederic Fairchild Sherman; with photography studios; and other miscellaneous correspondence.
Biographical / Historical:
Art collector; Akron, Ohio. Shaw, a BF Goodrich executive and avid collector of post-Civil War American art, was one of the founders of the Akron Art Institute, now the Akron Art Museum.
Provenance:
Lent for microfilming 1976 and 1992 by the Akron Art Museum. Shaw bequethed his art collection and papers to the Museum, then named the Akron Art Institute.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
1.8 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Interviews
Sketchbooks
Date:
1920-1982
Scope and Contents:
Biographical material, interviews, printed materials, writings, correspondence, art work, and photographs.
REEL 290: Eleven scripts for radio programs on the Index of American Design, broadcast in New York throughout 1940. Interviewees include: Rothschild, Holger Cahill, director of the WPA-FAP; Edith Halpert, director of American Folk Art Gallery; Katherine Coffey, curator of Newark Museum; Alice Winchester, editor of "Antiques"; and Theodore Starr.
REEL NDA 15: Press releases; pamphlet on permanent art programs; Index of American Design papers; a report concerning government art programs; memorandum to Gustave Von Groschwitz outlining a plan for new subject matter for FAP artists; and "Report to the Sculptors of the Federal Art Project" by Girolamo Piccoli.[Report to the sculptors...under microfilm title Girolamo Piccoli]
UNMICROFILMED: Writings on art and on the Index of American Design; radio scripts for the series "The American Artists" sponsored by Artists Equity, 1953; clippings, 1936-1982; a nearly complete set of his newsletter, THE PRAGMATIST IN ART, 1964-1978; material on Kenneth Hayes Miller; resumes, school transcripts and memorabilia; photographs of Rothschild and of his sculpture; correspondence concerning THE PRAGMATIST IN ART (1964-1978), The Index of American Design (1968-1973), his research on Miller (1964-1977) and other publications, his work for Artists Equity, and other matters; a sketchbook; and a drawing. Among the correspondents are Samuel Kramer, editor of "The Shipyard Worker," Peppino Mangravite, Katherine Schmidt Shubert, Betty Burroughs Woodhouse, and critics Rudolf Arnheim, John Canaday and Donald Kuspit.
Biographical / Historical:
Lincoln Rothschild (1902-1983) was a cculptor and writer in New York, N.Y. Rothschild was the director of the New York Unit of the Index of American Design, 1937-1940. He taught at Columbia University and Adelphi College, 1946-1950 and was the National Executive Director for Artists' Equity Association, 1951-57. He was the author of SCULPTURE THROUGH THE AGES (1942) TO KEEP ART ALIVE-KENNETH HAYES MILLER, AMERICAN PAINTER 1876-1956 (1974), FORMS AND THEIR MEANINGS IN WESTERN ART (1976) and numerous articles.
Other Title:
Girolamo Piccoli [microfilm title]
Provenance:
Material on reel NDA15 donated by Rothschild, 1964; remainder donated 1987 by his widow, Elisabeth Rothschild.
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.
Research materials for Schack's books on Albert C. Barnes and Louis Michel Eilshemius, ART AND ARGYROL: THE LIFE AND CAREER OF DR. ALBERT C. BARNES and AND HE SAT AMONG ASHES.
REEL D193: Eilshemius material, including fifteen letters, 1891-1831, primarily thanks from Eilshemius to C. H. Collins, a poet and a critic who favorably reviewed Eilshemius' books of verse, "Mamon" and "'Lady' Vere" in local Hillsboro, Ohio papers; 2 letters, undated and 1936, from Eilshemius to Schack; 13 hotel and restaurant receipts, 1893-1903; a certificate concerning Eilshemius' coat-of-arms; 21 clippings, 1897-1917; 3 tickets, 1903; a place card from the Art Students at Paris' Thanksgiving dinner at Restaurant Lapérouse, 1887; and a map of Arlington, Hudson County, New Jersey, 1900. The place card and the map were not microfilmed. Other Eilshemius material from sources other than Schack appearing on microfilm reel D193 has been cataloged and housed separately.
REEL 2917: Barnes and Eilshemius material. Barnes material includes correspondence with Ira Glackens, Dr. Hermann Hille, George Biddle, Thomas Hart Benton, James A. Michener, and others; notes; manuscript pages; a catalog; printed material; and a photograph. Eilshemius material includes letters to Eilshemius; Schack's correspondence with Katherine S. Dreier, Duncan Phillips, and others; notes; copies of writings on Eilshemius by others; and clippings.
Biographical / Historical:
Writer; Jerusalem, Israel.
Provenance:
Material on reel D193 donated 1959 by William Schack. These papers appear on the microfilm with records of the Valentine Gallery relating to Eilshemius.
Material on reel 2917 donated 1981 by William Schack.
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.
Scrapbooks, photograph albums, sketchbooks, correspondence, manuscripts, and printed material reflect Brown's work as a painter, and his ties with contemporary musical and literary figures.
REEL 877: Four scrapbooks, 1946-1972, containing: photographs of composers Igor Stravinsky and Paul Hindemith, artist Don Bachardy and Brown; letters and notes to Brown from musicians Stravinsky, Hindemith, John Cage, and Samuel Barber; drawings and photographs of works by Brown; clippings; and manuscript material by John Cage and Francis Poulenc.
REEL 921: Eight photograph albums, 1941-1971, including photos of Brown's work; photos of Brown at MacDowell Colony working on a series of self-portraits; of Brown, friends, and other artists, including Paul Wonner, Sonia Sekula, John McLaughlin, Jack Zajac, Sterling Holloway, Richard Diebenkorn, Mary Callery, David Park, Robert Shaw, poet May Sarton, playwright William Inge, composers Igor Stravinsky and Paul Hindemith, author Christopher Isherwood, and others.
REELS 1095 and 1116 (photographs only): Correspondence, ca. 1923-1974; with artists, musicians, writers, composers, and others; privately published letters of Brown's grandfather; sketchbooks, including two from his early years, 1926 and 1930-1934, and six done in Europe, 1945; one sketch by Brown and one each by Paul and Gertrude Hindemith; manuscripts; photographs of family, friends, and associates; photographs of drawings; catalogs and announcements; printed papers; legal documents; and 2 clippings relating to Igor Stravinsky.
REEL 1095: Correspondents include: Eugene Anderson, Cecil Beaton, James Broughton, Van Deren Coke, Robert Craft, Jay DeFeo, Elaine De Kooning, Richard Diebenkorn, Richard Donovan, Vladimir Golschmann, George H. Hamilton, Thomas B. Hess, Gertrude Hindemith (36 letters), Paul Hindemith, David Hockney, Bart Howard, William Inge, Christopher Isherwood, Dorothy Jenkins, Frank Johnson, Gavin Lambert, Jo Lathwood, Amy Loomis, Ben Masselind, Everett Meeks, Nathan Oliveira, Mary Petty, Josephine Carson Rider, Muriel Rukeyser, Eva Marie Saint, Leo Schrade, Bruce Simonds, Helen Stone, Vera Stravinsky, Richard Swift, Ann Tardos and Wayne Thiebaud; many are represented with only one letter.
Biographical / Historical:
Painter; San Francisco, Calif. Associated with the late 1950s movement of Bay Area figurative painting. Had particularly close ties with contemporary musical and literary worlds.
Provenance:
Material on reels 877 and 921 lent for microfilming and remainder donated 1974 by William T. Brown. Catalogs on reel 1095 were transferred to NMAA/NPG Library after microfilming.
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.
Correspondence of director Wilbur D. Peat. Many of the letters are from well-known artists of the 1920s and 1930s relating to their contributions to an exhibition of American paintings which Peat was assembling in 1932-1933. [Microfilm title: The Herron Museum of Art]
Correspondents include: Dewey Albinson, A. S. Baylinson, Wenona Day Bell, Thomas H. Benton, George Biddle, Peter Blume, Ernest Blumenschein, C. Curry Bohm, Adolphe Borie, George H. Borst, Robert Brackman, Samuel Brecher, Alexander Brook, Charles E. Burchfield, Varaldo J. Carian, Mrs. E. F. Carpenter, John Carroll, Nicolai Cikovsky, Antonio Cirino, Charles Val Clear, Max B. Cohen, John S. Curry, Randall Davey, Charles H. Davis, Edwin Dickinson, Paul Dougherty, Susan M. Eakins, Henry S. Eddy, Virginia B. Evans, Jerry Farnsworth, Ernest Fiene, John K. Fitzpatrick, John F. Folinsbee, Anton P. Fabrick, Charlotte Gailor, Daniel Garber, Robert F. Gilder, William J. Glackens, John R. Grabach, Charles T. Greener, Charles P. Gruppe,
Eugene Higgins, Edward Hopper, Bernard A. Hunger, Henry G. Keller, Fanny M. King, Georgina Klitgaard, Leon Kroll, Max Kuehne, Georges La Chance, Luigi Lucioni, Reginald Marsh, Henry E. Mattson, Henry Lee McFee, Miriam McKinnie, Clarence Millet, Ross E. Moffett, Francis Mora, Frederick Mulhaupt, Jerome Myers, Watson Nayland, Warren Newcombe, Waldo Peirce, Van Dearing Perrine, Robert Philipp, Abraham Phillips (Tromka), Majorie Phillips, Paul A. Plaschke, Edward Redfield, Doel Reed, Charles Rosen, Edward B. Rowan, Olive Rush, Chauncey Ryder, Eugene F. Savage, Henry Schnakenberg, Zoltan Sepeshy, Edward Sewall, Leopold Seyffert, Nan Sheets, Simka Simkhovitch, Clyde J. Singer, Judson Smith,
Eugene Speicher, Francis Speight, Maurice Sterne, Alfred Stieglitz (letter written on the back of Peat's letter to Georgia O'Keeffe and written for her), Elizabeth O'Neill Verner, Ferdinand E. Warren, Frederick Judd Waugh, Max Weber, Lois Wilcox, Arnold Wiltz, Grant Wood, and Harold Holmes Wrenn.
Biographical / Historical:
The John Herron Art Institute became the Indianapolis Museum of Art ca. 1969-1970. Peat was director 1929-1965.
Other Title:
Herron Museum of Art [microfilm title, reel D131]
Provenance:
Donated 1962 by the John Herron Museum of Art.
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.
Biographical material, diaries, correspondence, notes, writings, business records, sketches, scrapbook, clippings, and miscellaneous material.
Correspondence, undated and 1906-1979, is mainly letters from Maynard to his parents; also includes letters from Charles Bittinger, Alphaeus P. Cole, Olive Rush, Bessie Potter Vonnoh, and Irving R. Wiles.
Notes and writings, are by Maynard and by his daughter, Sylvia. Business records, 1902-1937, include leases, receipts, miscellaneous financial records, and material relating to his patents.
There are fifty-six sketches, undated and 1902-1915, including a floorplan of Maynard's studio in 1902; a scrapbook, 1895-1898, containing clippings, letters, and 2 sketches, mainly relating to the HARVARD LAMPOON; clippings, 1898-1976; exhibition announcements and catalogs, 1905-1917, miscellaneous printed material, undated and 1898-1901; biographical material, undated and 1938; 7 diaries kept by Maynard, 1888-1899 and 1960; and one, 1897, by Margaret Field Maynard.
Photographs, undated and 1914-1979, are of Maynard, of a trip to Tucson, 1914, of a play entitled "Puppets of Fate", showing F. Luis Mora, Charles C. Curran, Charles Coburn, Kenneth MacKenna (aka Leo Mielziner), and Mr. Hubbell in costume. Also included are photographs of Beryl Morse, Gladys Lee Wiles, Helen Chadwick, Bessie Potter Vonnoh, Alphaeus P. Cole in 1979, and a model demonstrating Maynard's invention: a chair which rolls on tracks perpendicular to the easel to facilitate the artist's movement while painting.
ADDITION: Correspondence between Maynard and his father, Isaac N. Maynard, 1931-1933; letters to Maynard and others from his wife Lorraine, 1933; and a few letters to Richard and Lorraine Maynard from their twelve-year-old daughter, Sylvia, 1933 [All letters from Richard and Lorraine Maynard are carbon copies.] Also included are letters to the Richard and Lorraine Maynard from Bessie Potter Vonnoh, writings by Lorraine Maynard, undated, and photographs of Lorraine and Sylvia Maynard, and of Vonnoh, c. 1923.
Biographical / Historical:
Painter, sculptor, writer, and inventor. Maynard was a resident and Treasurer of the Tenth Street Studio Building, N.Y.C.
Provenance:
Donated by Sylvia Maynard, daughter of Richard Field Maynard, 1981. An additional 0.2 ft. was received from Maynard via Julie Aronson, who had used the papers in her research on Bessie Potter Vonnoh.
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.
The papers of painter and muralist Daniel Putnam Brinley and his wife, linguist and writer Kathrine Sanger Brinley, date from 1879 to 1984 and measure 14.3 linear feet. The Brinleys' careers and lives are documented in biographical materials, as well as extensive correspondence with one another, family, friends, art galleries, organizations, publishers, and others. Also found within the papers are writings by both, including 16 diaries (1 by Daniel Putnam Brinley and the rest by Kathrine), essays, manuscripts, typescripts, notes and notebooks, poetry, and various other writings. There are mural commission files, files for organizations of which the Brinleys were members, financial and legal records, exhibition catalogs, news clippings, and other printed material. Also found are photographs of the Brinleys, family, friends, travels, and artwork, and six sketchbooks and original artwork by Daniel Putnam Brinley.
Scope and Content Note:
The papers of painter and muralist Daniel Putnam Brinley and his wife, linguist and writer Kathrine Sanger Brinley, date from 1879 to 1984 and measure 14.3 linear feet. The Brinleys' careers and lives are documented in biographical materials, as well as extensive correspondence with one another, family, friends, art galleries, organizations, publishers, and others. Also found within the papers are writings by both, including 16 diaries (1 by Daniel Putnam Brinley and the rest by Kathrine), essays, manuscripts, typescripts, notes and notebooks, poetry, and various other writings. There are mural commission files, files for organizations of which the Brinleys were members, financial and legal records, exhibition catalogs, news clippings, and other printed material. Also found are photographs of the Brinleys, family, friends, travels, and artwork, and six sketchbooks and original artwork by Daniel Putnam Brinley.
Biographical material consists of biographical sketches and professional summaries for both Daniel Putnam Brinley and Kathrine Sanger Brinley, passports, personal mementos, award certificates, two radio interview transcripts, and military records documenting Daniel Putnam Brinley's service in the American Expeditionary Forces and the Camouflage Corps.
The papers contain extensive correspondence (4.6 linear feet) divided into family correspondence and general correspondence. Family correspondence includes letters between Daniel Putnam Brinley and Kathrine Sanger Brinley and with their parents and siblings. General correspondence primarily includes the Brinley's personal correspondence with friends and extended family. These letters discuss travel, mutual acquaintances, social events, and general news. Also found is professional correspondence regarding the exhibition and commission of artwork by Daniel Putnam Brinley and the publication of writings by Kathrine Sanger Brinley. Also discussed in the letters are the Brinleys' participation in art, social, and religious organizations. Correspondence of note is with Edwin Blashfield, Edward Bruce, William A. Coffin, Charles H. Davis, John Erskine, Anthony Euwer, Esperanza Gabay, Robert Henri, Hildreth Meiere, Ernest Peixotto, and Hugh Troy.
Writings and notes are by Daniel Putnam Brinley and Kathrine Sanger Brinley. Included among their writings are one diary by Daniel Putnam Brinley, 15 diaries by Kathrine Sanger Brinley, essays, notebooks and notes, manuscripts, and typescripts. Subjects of their writings include essays about religion, poetry, and autobiographical and travel essays. Also found among Daniel Putnam Brinley's writing are lecture notes, fictional stories and plays, essays about art, and historical research for his mural projects.
Mural commission files include correspondence, lists, contracts, financial agreements, notes, plans, sketches, and photographs for specific murals. There is extensive documentation on murals Brinley completed for the Metropolitan Life Insurance Company in New York and the Liberty War Memorial in Kansas City Missouri. Organization files document the Brinleys' participation in art and social organizations.
Scattered financial and legal records include receipts, account books, leases, estate and power of attorney documents, and records regarding their house and property in New Canaan, Connecticut. Printed material consists of published items documenting the careers, social activities and personal interest of the Brinleys, and includes books, exhibition catalogs and announcements, news clippings, newsletters, and items from their travels abroad.
Photographs depict Daniel Putnam Brinley and Kathrine Sanger Brinley, individually and with family and friends, and include photographs of Daniel Putnam Brinley working on mural commissions. Also found are photographs of their travels, their homes, Daniel Putnam Brinley's artwork, and reference photographs for his murals. Artwork in this collection includes six of Daniel Putnam Brinley's sketchbooks, primarily from his travels in Europe and Canada, loose drawings and mural studies, drawings by Albert Sterner and Reinhold Palenske, and a lithograph by John Steuart Curry.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Material, 1879-1970s (Box 1, OV 16; 0.8 linear feet)
Series 2: Correspondence, 1879-1984 (Box 1-6; 4.6 linear feet)
Series 3: Writings and Notes, circa 1895-1964 (Box 6-9; 3.3 linear feet)
Series 4: Commission Files, 1920-1979 (Box 9-10; 0.8 linear feet)
Series 5: Organization Files, 1909-1964 (Box 10-11; 0.9 linear feet)
Series 6: Financial and Legal Records, 1896-1965 (Box 11; 0.4 linear feet)
Series 7: Printed Material, 1895-1979 (Box 11-13, OV 16-17; 1.8 linear feet)
Series 8: Photographs, 1881-1971 (Box 13-14, OV 22; 0.8 linear feet)
Series 9: Artwork, 1891-1950s (Box 14-15, OVs 18-21; 0.9 linear feet)
Biographical Note:
Daniel Putnam Brinley (1879-1963) was a muralist and painter in New York City and New Canaan, Connecticut. Brinley was born in Newport, Rhode Island, and studied from 1900 to 1902 at the Art Student's League under Kenyon Cox and John Henry Twachtman. Influenced by Twachtman, he became an impressionist landscape painter for a time. In 1904, he married his childhood friend, writer Kathrine Gordon Sanger (1877-1966). For the next four years they traveled throughout Europe and lived in Paris, where Brinley studied art independently and became a member of the modernist circle of painters.
In 1908 the Brinleys returned to the United States and Daniel established a studio in New York City. During this period his work was heavily influenced by the modernist movement, with flattened forms and a deeper hued palette. Brinley had his first one-man show at Madison Avenue Galleries in 1910, exhibited at Alfred Stieglitz's gallery at 291, and helped organized the 1913 Armory Show. He was also a founding member of the Association of American Painters and Sculptors and the Grand Central Art Galleries. In 1914 the Brinleys built a home, Datchet House, in New Canaan, Connecticut, and spent part of each year there for the remainder of their lives.
In 1917 Daniel Putnam Brinley trained with the American Expeditionary Forces and went to France as the Director of Decoration for the Foyers Du Soldat (YMCA), remaining there until 1919. After returning to the United States he became a mural painter and received numerous commissions for memorials, office buildings, churches, and public spaces over the next forty years. Perhaps most notable of these commissions was the Liberty War Memorial in Kansas City, Missouri, for which Brinley painted 24 decorative maps showing the history of World War I. He remained active in the art community as a member of the Architectural League of New York, the National Academy of Design, and the Silvermine Guild of Artists, among others.
Kathrine Sanger Brinley was a writer and linguist who worked in Europe, New York City, and Connecticut. She lived in Europe from 1904 to 1908 where she studied the arts and crafts of the middle ages and became an expert on English writing and language of the 14th century. She published articles and books on these subjects and during the 1920s had a successful career touring as a dramatic recitalist of the works of Geoffrey Chaucer. From 1934 to 1938 the Brinley's spent their summers traveling throughout Canada, and Kathrine published four travel books which were illustrated by Daniel Putnam Brinley. Kathrine Sanger Brinley published and wrote professionally under the name Gordon Brinley.
Related Material:
Also found in the Archives of American Art is the Elizabeth Loder research material on Daniel Putnam Brinley, 1919-1990.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1427, including select family photographs. Loaned material was returned to the lender is not described in the collection container inventory.
Provenance:
The Daniel Putnam Brinley and Kathrine Sanger Brinley papers were lent for microfilming by their niece, Elizabeth Loder, in 1978-1979. Loder subsequently donated all but select family photographs in 1991 and additional material in 1992.
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.
Davis, Charles H. (Charles Harold), 1856-1933 Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1962-1964
Summary:
The papers of portrait artist Gladys Rockmore Davis consist of three letters and date from 1962 to 1964. Letters to Davis are from Agnes George de Mille and Joseph Paolillo. Another letter is signed with only the first name of Walter.
Scope and Contents:
The papers of portrait artist Gladys Rockmore Davis consist of three letters and date from 1962 to 1964. Letters to Davis are from Agnes George de Mille and Joseph Paolillo. Another letter is signed with only the first name of Walter.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Gladys Rockmore Davis (1901-1967) was a portrait painter and author from New York City, New York. She worked in both commercial and fine art and painted portraits of women and children.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on D176 and D288 including: Photographs, writings, and vita information; correspondence; biographical information; clippings; personal documents; exhibition notices; photographs; sketchbook (1944); and some business and miscellaneous items. The writings contain interesting accounts of Davis's travels in Europe and the Far East. Loaned materials were returned to the Davis after microfilming and are not described in the collection container inventory.
Provenance:
The collection was donated in 1966 by Gladys Rockmore Davis.
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.
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.
Occupation:
Authors -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Letters from artists, members of their families, and dealers, 1906, resulting from Hartmann's commission, apparently from the Art Society of Pittsburgh, to collect and exhibit American drawings for the benefit of the Carnegie Institute, Pittsburgh. Writing about their work are Charles H. Davis, Elizabeth Shippen Green Elliott, Marcus Waterman, Walter A. Clarke, Frederick P. Vinton, and Alice B. Stephens. Offered in letters from dealers and family are works by Felix O.C. Darley, William Rimmer, George Inness, and William Morris Hunt. Hartmann writes to Henry W. Ranger. Price lists are included.
Biographical / Historical:
Art dealer; Pittsburgh, Pa.
Provenance:
Donated by Carnegie Institute, Museum of Art, 1971, who received the letters from Mildred Steinbach of the Frick Art Reference Library.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art dealers -- Pennsylvania -- Pittsburgh Search this
Topic:
Art, American -- Pennsylvania -- Pittsburgh Search this
Davis, Charles H. (Charles Harold), 1856-1933 Search this
Gallatin, A. E. (Albert Eugene), 1881-1952 Search this
Extent:
9 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1934-1952
Scope and Contents:
Two letters, 1942 and 1943, from Albert Eugene Gallatin to Hellman concerning the relocation of Gallatin's art collection, the Museum of Living Art, from New York University to the Philadelphia Museum of Art; a press release from NYU about the move; and photocopies of 6 articles about Gallatin by Hellman in THE NEW YORKER, 1934-1952.
Biographical / Historical:
Hellman, a writer, wrote about A. E. Gallatin on several occasions in the New Yorker magazine. Gallatin formed one of America's earliest modern art collections, and displayed it as Gallery of Living Art (later Museum of Living Art) at NYU. It moved to the Philadelphia Museum of Art in 1943.
Provenance:
Donated 1976 by Geoffrey Hellman.
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.
Davis, Charles H. (Charles Harold), 1856-1933 Search this
Extent:
0.4 Linear feet ((65 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1924-1956
Scope and Contents:
Clippings, 1924-1956; a biographical sketch; photographs of Lundean's work, mostly paintings of hunting scenes, 2 photographs of Lundean; magazine articles with illustrations by Lundean; an exhibition catalog, 1939; poster; 3 press releases; and miscellaneous papers.
Biographical / Historical:
Illustrator, writer, painter, lecturer, and teacher; born in Newcastle, Wyoming. Birthdate also cited as 1896. Specialized in painting the American West, especially American Indians and horses. Also well known for his pictures of race horses and his portraits of Will Rogers and Robert E. Lee.
Provenance:
The donor, Marjorie Howlett, is the widow of Louis Lundean.
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.
