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:
Aaron Bohrod papers, 1507-1994, bulk circa 1930-1994. Archives of American Art, Smithsonian
Institution.
The Federal Art Project, Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the Federal Art Project (FAP), 1935-1942. The collection comprises 12.4 linear feet of mostly photographic prints and negatives that document primarily artwork produced by artists employed by the FAP. A smaller number of photographs also document other programs of the FAP, such as art classes and community centers, exhibitions by children and adults, artwork installed in public buildings, project divisions, and demonstrations of art processes by FAP artists.
Scope and Content Note:
The Federal Art Project (FAP), Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the FAP: 1935-1942. The collection comprises 12.4 linear feet of photographic prints and negatives, including photos of FAP artists and the artwork created by them, and other activities of the FAP in communities throughout New York City and other states. Photographers include Andrew Herman, Sol Horn, David Robbins, Leo Seltzer, and others.
Artist files comprise three-quarters of the collection and consist primarily of photographs of artwork, as well as scattered photos of artists at work, including: Charles Alston, Luis Arenal, Richmond Barthe, John Benson, Andrew Berger, Lucille Blanch, Lucienne Bloch, Ilya Bolotowsky, Luise Brann, Selma Burke, Letterio Calapai, Eugene Chodorow, Francis Criss, Stuart Davis, Adolf Dehn, Virginia Dehn, Jose de Rivera, George Pearse Ennis, Philip Evergood, Eugenie Gershoy, Bertram Goodman, Arshile Gorky, Marion Greenwood, Philip Guston, Donal Hord, Joseph Hovell, William Karp, Yasuo Kuniyoshi, Edward Laning, Julian Levi, Audrey McMahon, Elizabeth Olds, Anton Refregier, Will Shuster, William Zorach, and others.
The remainder of the collection consists of files documenting related activities and programs of the FAP, arranged by subject. The bulk of these files document the activities of the New York City FAP, including free art classes and art exhibitions for adults and children, exhibitions at the Harlem Art Center, and the work of FAP branches including the Easel Division, the Graphic Arts Division, and the Poster Division.
Other subjects documented include federal and community art centers in eleven states, most extensively Washington State; other WPA projects such as the Federal Theater Project, the Federal Music Project, and the Federal Writers' Project; buildings decorated with FAP artwork; art processes as demonstrated by FAP artists; special events; and people involved with the FAP, including director Holger Cahill.
One folder contains images that appear to have been taken by Berenice Abbott for the exhibition Changing New York (1935), for the Museum of the City of New York in collaboration with the WPA.
Arrangement:
The collection is arranged as 2 series:
Missing Title
Series 1: Artist Files, circa 1920-1965 (Boxes 1-24; 9.6 linear feet)
Series 2: Subject Files, 1934-1956 (Boxes 25-32; 2.8 linear feet)
Historical Note:
The Federal Art Project (FAP) was one of the Depression-era work-relief programs of the Federal Works Progress Administration (WPA). The program was founded in August 1935 to provide employment for artists and to implement visual arts programs in local communities across the country.
Together with the Federal Music Project, the Federal Theater Project, and the Federal Writers' Project, the FAP formed part of the WPA's Federal Project No. 1. The WPA became the Work Projects Administration in 1939 when it fell under the administrative hand of the newly created Federal Works Agency; concurrently the Federal Art Project was officially re-named the Federal Art Program.
Under the direction of Holger Cahill, the goals of the FAP fell into three main areas: production of artwork, art education through art classes and community centers, and art research through the Index of American Design. During the course of the program, artists created murals and other works of art for many non-Federal government buildings such as schools, hospitals, and libraries. Separate photographic divisions were set up in several states, most notably in New York City, to document the work of artists employed by the program, activities in art education such as classes for children and adults, community center outreach programs, and other "Federal 1" projects, including the Federal Theater and Music Projects. Employees of the photographic division were also involved in other assignments, such as creating exhibitions and photo murals.
The Federal Art Project ended in 1943.
Related Material:
Among the holdings of the Archives of American Art are related collections, including the Federal Art Project of the Work Projects Administration records, 1935-1948. Additional FAP records are held by the National Archives and Records Administration in Washington D.C.
Provenance:
The collection was anonymously donated to the Archives of American Art in the late 1950s.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.
Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.
Missing Title
Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)
Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)
Series 3: Business Records, 1952-1978 (box 6; 5 folders)
Series 4: Notes, 1967-1970, undated (box 6; 3 folders)
Series 5: Writings, 1970, undated (box 6; 2 folders)
Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)
Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.
With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.
Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.
In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.
Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Draftsmen (artists) -- New York (State) -- New York Search this
Ceramicists -- New York (State) -- New York Search this
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.
Scope and Content Note:
The papers of printmaker and painter Adolf Dehn measure 6.6 linear feet and date from 1912-1987. The collection contains extensive correspondence, as well as writings, exhibition announcements, catalogs, clippings, invoices, receipts, legal documents, scrapbooks, artwork, and photographs. There is also scattered correspondence of Virginia Dehn, mostly concerning her husband Adolf Dehn.
Found within the biographical materials are several address books, official travel documents, exhibition price lists, and a biographical sketch.
Correspondence, both personal and business, makes up the bulk of this collection. Dehn maintained long friendships with many fellow artists and his correspondence includes letters from Aaron Bohrod, Federico Castellon, Albert Christ-Janer, Wanda Gág, Gustav Goetsch, George Grosz, Reginald Marsh, Elizabeth Olds, Abraham Rattner, Boardman Robinson, Frederick Shane, William Smith, and Benton Spruance. Additional notable correspondents include print dealer and curator Carl Zigrosser; journalists Max Eastman, Joseph Freeman, Frederick Kuh; editor Scofield Thayer, and his former wife, the Russian dancer Mura Dehn (neé Tsiperovitch). Business correspondence includes letters from art schools, associations, museums, and galleries affiliated with Dehn, including the Weyhe Gallery; Associated American Artists, a gallery that promoted American art to the middle classes; and the Kennedy Gallery, which represented the Dehn estate upon the artist's death. There is also correspondence from companies and organizations that commissioned commercial work from Dehn, such as greeting card publisher, American Artists Group . Finally the correspondence of Virginia Dehn includes letters to and from the University of Missouri Press related to the publication of Adolf Dehn Drawings and condolence cards and letters from friends and associates after the Adolf Dehn's death in May 1968.
Writings include manuscripts for Adolf Dehn's manual on painting technique, Watercolor, Gouache, and Casein Painting (Studio Publications, 1955), as well as his entries on technique and watercolor painting for Encyclopedia Britannica. Writings by others includes the catalog Adolf Dehn Drawings, prepared by his wife Virginia Dehn, and published in 1971 by the University of Missouri Press. There is also a journal with handwritten poems attributed to Eileen Hall Lake.
Printed materials consists of exhibition announcements and catalogs from galleries featuring Dehn's work including the Weyhe Gallery and Associated American Artists; art school brochures and newsletters from programs which Dehn attended or taught; and newspaper and magazine clippings including examples of his editorial cartoons, which appeared in The Liberator, The New Yorker, and Vanity Fair, among other publications as well as clippings of news items related to the artist. This series also includes examples of Dehn's commercial work, such as book covers, calendars, and Christmas cards. Additional similar printed materials can be found in the scrapbooks. Artwork consists of only a few sketches attributed to Dehn, others to Eileen Lake Hall, and an etching by S.W. Hayter.
Dehn is well documented through numerous photographs, both alone and with others, including a portrait by the renowned photographer André Kertész. Additional vintage photographs include Dehn with family members, friends, and a series of photographs taken with his wife, Virginia Dehn at Atelier Desjobert, where he had been making lithographs since the 1920s.
Arrangement:
The collection is arranged into 8 series:
Missing Title
Series 1: Biographical Material, circa 1920-1968 (Box 1; 10 folders)
Series 2: Correspondence, 1919-1982 (Boxes 1-4; 3.75 linear feet)
Series 3: Writings, circa 1920-1971 (Boxes 4-5; 0.25 linear feet)
Series 4: Financial Records, 1936-1965 (Box 5; 0.5 linear feet)
Series 5: Printed Materials, circa 1915-1987 (Boxes 5-6; 1.2 linear feet)
Series 6: Scrapbooks, 1912-1968(Boxes 6-7; 0.5 linear feet)
Series 7: Artwork, circa 1920-1945 (Box 6; 3 folders)
Series 8: Photographs, circa 1912-1961 (Boxes 6 and 8; 7 folders)
Biographical Note:
Adolf Dehn (1895-1968) was well-known for his drawings, lithographs and watercolors which satirically chronicled the social and political milieu of his times, as well as poetic landscapes, many of which depicted the rolling hills and farmlands of his native Midwest. Although he worked mostly in New York, Dehn also spent substantial time traveling and working in Europe, the Middle East, South America, and the American mid-west.
Dehn was born on a farm in Waterville, Minnesota on November 22, 1895, he began his formal art education in 1914 at the Minneapolis School of Art (currently known as the Minneapolis College of Art and Design). As a student, his drawings were featured in the school's humor journal, The Minne-Ha-Ha and by 1917 he had published his first drawing in one of his favorite political journals, The Masses. Later that year he and fellow Minneapolis School of Art student Wanda Gág were among a select group of art students nationwide who won scholarships to the Art Students League of New York. After only eight months in New York, however, Dehn was drafted into the Army to serve in the final months of World War I, but he proclaimed himself as a conscientious objector and was sent to Camp Wadsworth in South Carolina for several months.
Dehn returned to New York, where his friend and mentor Boardman Robinson introduced him to lithography through the master printer George Miller and brought him to the Weyhe Gallery to meet Carl Zigrosser, an avid supporter of American printmakers. However, he soon left New York for Europe in September 1921 where he spent most of the following eight years. There he traveled with his sketchbooks to the cafes and opera houses of Berlin, Paris, and Vienna, as well as on hiking trips in the Alps. He became friends with the poet E.E. Cummings, Scofield Thayer, editor of The Dial, who published many of his drawings, and met the German artist, George Grosz, whose work he so admired. In addition to The Dial, his satirical drawings of jazz-age entertainments and European cafe life also appeared in , The Liberator, Jugend, Vanity Fair, and Simplicissimus. Finally during his stint in Europe, Dehn met and married the Russian dancer Mura Tsiperovitch. They were married in Vienna in 1926, but divorced sometime in the early 1930s.
Unfortunately Dehn's return to the United States coincided with the Great Depression of 1929 and sales of his work were slim. However in the 1930s, The New Yorker and Vogue began to publish his work. He continued to work in lithography and returned to Paris to work at the Atelier Desjobert, the print studio with whom he worked most closely throughout his life. In the late 1930s, Dehn began working in watercolors, mostly rural landscapes, and had a one man show of works in his new medium at Weyhe Gallery in 1938. In 1939 Dehn traveled through the Southwest and Mexico on his first Guggenheim Fellowship (he was awarded his second in 1951).
By the 1940s Dehn was an active member of both the American Artists Group and Associated American Artists; both organizations sought to popularize contemporary American Art, primarily through reproductions of fine art prints and commercial use of artists' designs on greeting card, calendars, and even wall paper. Appreciation for his lithographs and watercolors grew, and along with it his recognition. He also taught art classes a few summers; in the late 1930s at Stephens College, Columbia, Missouri where his friend Albert Janner-Christ was head of the art department and in the early 1940s at the Colorado Springs Fine Arts Center, where friend and mentor Boardman Robinson was the director. In 1955 he published Watercolor, Gouache, and Casein Painting, a manual on technique. Throughout the rest of his life he continued to travel, not only returning to Europe, but also visiting Afganistan, Cuba, Haiti, and a trip to Venuzuala on assignment from Standard Oil to document the oil industry there. On many of his later trips, he was accompanied by his wife, fellow artist, Virginia Engleman Dehn, whom he had married in November 1947.
Near the end of his long career, Dehn was elected in 1961 to the National Academy of Design as a full academician. He was later elected to the National Academy of Arts and Letters. After his death in 1968, his wife Virginia worked with the University of Missouri Press on the catalog Adolf Dehn Drawings (Columbia: University of Missouri, 1971).
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 287 contains printed materials, including exhibition announcements, catalogs, magazines, and newspaper and magazine clippings. After filming, these materials were transferred to the Smithsonian American Art Museum/National Portrait Gallery Library. Reels 2938-2939 include 750 letters from Adolf Dehn to various family members. This material was returned to the lender and is not described in the collection container inventory.
Provenance:
The Adolf Dehn papers were donated in several installments from 1966 to 1985 by Adolf Dehn and his wife Virginia. Dehn's sisters, Viola Dehn Tiala and Olivia Dehn Mitchell, separately donated additional materials in 1971 and 1972. Olivia Dehn Mitchell also loaned the Archives letters from Adolf in 1983 for microfilming. Finally in 1989, Lillian Morrison, a friend and editor, donated a published book of Mura Dehn's poetry and a four page draft of a letter signed by Adolf Dehn.
Restrictions:
Use of originals 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.
Dehn, Virginia; Delgado Museum of Art; Des Moines Art Center
Collection Creator:
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997 Search this
Container:
Box 2, Folder 26
Type:
Archival materials
Date:
1960-1961
Collection 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.
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:
Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
Correspondence is primarily between Gershoy and family members and colleagues. Correspondence with her sister and brothers and their families discusses Gershoy's activities, including her relationships with Harry Gottlieb and Juliana Force. Correspondence with colleagues includes letters from Elizabeth Ames of Yaddo, Mildred Baker, Arnold and Lucile Blanch, Virginia Dehn, Aline Fruhauf, Agnes Hart, Frederic Knight, Josef Presser, and Virgil Thomson. There are Christmas cards from Irving Marantz, George Picken, Anton Refregier, Moses Soyer, and Raphael Soyer. Correspondence found in box 9 is primarily from museum colleagues including Alfred Barr, Adelyn Breeskin, Juliana Force, and A. Hyatt Mayor. There is also a recommendation from Anton Refregier.
See Appendix for a list of notable correspondents from Series 2.
Appendix: List of Notable Correspondents from Series 2:
Baker, Mildred: undated letters (20); May 22, 1969; [Aug 1971]; May 25, 1980; Mar 10, 1981; Mar 17, 1981; Mar 26, 1981; Jun 5, 1981; 1981 Christmas card; 1982 Christmas card
Bertoia, Harry: see Printed Material for autographed exhibition announcement
Blanch, Arnold and Lucile: undated letters (2); Jan 1975; Dec 18, 1975; 1977 Christmas card; Jan 1977; Jan 1978; also see Printed Material for exhibition announcements and catalogs; also see Photographs
Botkin, Henry and Rhoada: undated cards (5); 1973 Christmas card; Jul 29, 1974; Aug 15, 1975; 1975 Christmas card; 1976 Christmas card; 1977 Christmas card; also see Printed Material for an exhibition announcement
Breeskin, Adelyn: May 23, 1969; Dec 19, 1969; Feb 17, 1970; Nov 24, 1970; Jan 14, 1971; Feb 22, 1971; Jul 14, 1971; Sep 13, 1971; Dec 22, 1971; Feb 8, 1972; Mar 30, 1972; May 30, 1972; May 16, 1975; Oct 29, 1975; Nov 21, 1975
Cadmus, Paul: Oct 18, 1956 postcard
Calder, A. Stirling: see Photographs
Castellon, Rolando: undated letter; [Apr 1968]; May 13, 1968; Jan 6, 1972; Apr 5, 1979
Chase, Doris: undated letter
De Creeft, Jose: see Printed Material for an exhibition catalog
Dehn, Virginia (Mrs. Adolph Dehn): undated Christmas card; Dec 9, 1975; [Jan 1976]; Dec 18, 1977; Feb 17, 1978; Dec 16, 1978; Dec 5, 1980; 1981 Christmas card; 1982 Christmas card; also see Printed Material for exhibition announcements and catalogs
Dixon, Constance ("Consie," daughter of painter of the West, Maynard Dixon): 1949 Christmas card; May 5, 1952; 1961 Christmas card
Engelking, Roberto (architect): undated letter; Jan 16, 1949; Mar 22, 1949
Evergood, Philip: see Printed Material for an exhibition catalog
Ferber, Herbert: see Printed Material for an exhibition catalog
Force, Juliana: [mentioned in Oct 16, 1929, Apr 1930, April 29, 1930, Oct 1, 1930, Oct 25, 1930, Nov 1, 1930, Sep 12, 1932, and Sep 20, 1932 postcards]
Fortess, Karl and Lillian: 1977 Christmas card; Aug 14, 1979; Dec 3, 1979; Jan 8, 1980; 1980 Christmas card; 1981 Christmas card; 1982 Christmas card
Freilich, Michael: undated letter; also see Printed Material for exhibition announcement; also see Photographs
Fruhauf [Vollmer], Aline: undated letters (22); Mar 31, 1944; Jan 3, 1948 (note from Susie Vollmer); Jan 18, 1950; Jan 27, 1950; Apr 15, 1950; Sep 9, 1957; Nov 29, 1957; Jan 15, 1958; Nov 1, 1958; Feb 1, 1961; Dec 21, 1970; Apr 14, 1972; Jan 15, 1974; Jun 12, 1974; Jun 18, 1975; Jun 3, 1977; Oct 23, 1977; 1977 Christmas card; Mar 11, 1978; Jul 18, 1979 (letter from Erwin Vollmer); 1980 Christmas card (from Erwin Vollmer)
Gikow, Ruth: see Printed Material for exhibition announcements
Glassgold, Adolph Cook (painter, former Whitney Museum curator): undated letter; May 26, 1948; 1972 Christmas card; 1977 Christmas card; 1978 New Year's card
Gottlieb, Harry: [postcards dated 1923-1934 mention Gottlieb]; undated letter; Apr 27, 1977; also see Printed Material for an exhibition catalog; also see Photographs
Goulet, Lorrie: see Printed Material for exhibition announcements
Hardy, Marcella (writer from India): May 18, 1956
Hart, Agnes: see Presser, Agnes Hart
Hartwig, Cleo: see Printed Material for an exhibition announcement
Knight, Frederic and Dorothy: undated letters (6); May 19, 1953
Knight, Frederic and Hortense: undated letters (3); Dec 5, 1975; 1977 Christmas card; Nov 18, 1978; Sep 16, 1979; Dec 7, 1980; Nov 23, 1981; also see Printed Material for exhibition announcements and catalogs
Kosloff, Alexis (Russian dancer): [mentioned in Jul 5, 1928 postcard]
Lonergan, Joy (Mrs. John Lonergan): undated letter; Jul 25, 1975; Jul 19, 1977; Apr 27, 1978; Mar 7, 1979; May 25, 1979; Sep 12, 1979; 1981 Christmas card
Marantz, Irving and Evelyn: undated Christmas card; 1971 Christmas card; Jun 4, 1975; 1975 Christmas card; [Sep 5, 1978]; also see Printed Material for an exhibition catalog
Mayer, Ralph and Bena: undated letters (3); Feb 10, 1975; Nov 29, 1977; May 16, 1980; Jan 1, 1981; Aug 7, 1981; 1981 Christmas card
Nakian, Reuben: see Photographs
O'Connor, Francis V.: undated letters (2); Jun 19, 1970; Nov 11, 1970; Dec 22, 1975
Olds, Elizabeth: undated card
Picken, George and Viola: undated letters (3); 1944 Christmas card; 1972 Christmas card; 1974 Christmas card; 1977 Christmas card; also see Printed Material for an exhibition catalog
Pollet, Joseph: see Printed Material for an exhibition catalog; also see Photographs
Presser, Josef and Agnes Hart: undated letters (3); [Sep 1970]; Nov 6, 1973; Feb 25, 1978; Feb 14, 1979; Feb 21, 1979; Mar 4, 1979; Mar 19, 1979; Jun 13, 1979; Sep 7, 1979; [Nov 4, 1979]; also see Printed Material for exhibition announcements and catalogs
Robinson, Gertrude (author of -- The Cardinal -- , wife of Morton Robinson, novelist and poet): undated letter; Feb 6, 1972; 1974 Christmas card; 1977 Christmas card; Feb 16, 1978; Jun 20, 1978; 1978 Christmas card; Jun 20, 1978; Apr 17, 1979; Sep 10, 1979; Dec 19, 1980; Sep 22, 1981; Oct 17, 1981; Nov 12, 1981
Rockwood, Paul and Alice (painter and Bishop Museum Director): undated letter; Dec 8, 1951; Jan 7, 1960
Rogers, Jane C. (painter, sister of Leon Kroll): undated Christmas card; Dec 30, 1948
Rose, Phyllis (writer): un Christmas card; Jan 23, 1977; Jul 1978; Dec 1981
Sarg, Tony: [mentioned in Oct 30, 1923 and Nov 7, 1923 postcards]
Scaravaglione, Concetta: Dec 22, 1959; Jun 24, 1960; also see Photographs
Shibley, Gertrude (Painter): 1977 Christmas card; Jun 5, 1979
Smith, Gretchen and Mary (daughters of Judson Smith): [Judson Smith mentioned in Feb 17, 1925 postcard]; undated Christmas cards (3); 1977 Christmas card; Sep 16, 1980; see Printed Material for an exhibition catalog for Judson Smith
Soyer, David (son of Moses Soyer): 1977 Christmas card
Soyer, Moses: undated Christmas card
Soyer, Raphael: undated Christmas cards (3); 1980 Christmas card; 1981 Christmas card; 1982 Christmas card; also see Printed Material for exhibition announcements
Still, James (Writer): Nov 8, 1950; Jun 8, 1979
Striebel, Fritzi (Mrs. John Striebel, ceramic sculptor, writer): undated letters (11); Jun 6, 1975; Oct 14, 1975; Feb 1, 1976; [May 1976]; Aug 21, 1976; 1976 Christmas card; 1977 Christmas card; Feb 17, 1979; Apr 11, 1979; Jul 3, 1979; Oct 22, 1979; Nov 6, 1979; Nov 20, 1979; [1979 Christmas card]; Apr 5, 1980; Oct 5, 1980; Dec 30, 1980; Jan 9, 1981; Apr 22, 1981; May 12, 1981; Oct 22, 1981; Nov 16, 1981; 1981 Christmas card; 1982 Christmas card; Feb 26, 1983; [Mar 1983]
Taylor, Joshua: Dec 20, 1972; Dec 5, 1975
Thomson, Virgil (composer): undated letters (2); Apr 1, 1970; Jun 8, 1971; Nov 8, 1971; Jan 1, 1972
Van Veen, Stuyvesant: undated letter; Nov 23, 1976
Whitney Studio Club: [mentioned in Jan 31, 1928, Apr 9, 1928, and Feb 16, 1929 postcards]
Wilder, Thornton: Jul 20, 1953
Wright, Russell (industrial designer): undated Christmas cards (5); Dec 12, 1972; Feb 2, 1976
Yaddo: undated letters (4): Oct 17, 1949; Dec 12, 1949; Jan 9, 1950; Jan 24, 1950; Mar 31, 1950; Aug 23, 1950; Aug 24, 1950; Oct 9, 1950; Oct 11, 1950; Feb 26, 1951; also see Photographs
Zorach, Tessim: May 11, 1968; Nov 20, 1970; Nov 28, 1970
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
John D. Schiff. Adolf and Virginia Dehn, 1940. Federal Art Project, Photographic Division collection, circa 1920-1965. Archives of American Art, Smithsonian Institution.
Adolf Dehn : part one in an exhibition series of Adolf Dehn's prints and paintings from the collection of Virginia Dehn at the Springfield Art Museum, Springfield, Missouri : 3 August through 15 September, 2002
