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 donor has retained all intellectual property rights, including copyright, that she may own in the following material: photographs taken by Rudy Burckhardt.
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:
Rudy Burckhardt papers, 1934-2015. Archives of American Art, Smithsonian Institution.
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Foundation.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Brown Foundation. Funding for the digitization of this collection was provided by the Terra Foundation for American Art.
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.
Scope and Contents:
The papers of painter and art historian Tony Vevers measure 3.4 linear feet and date from 1947 to 2008, with the bulk of materials dating from 1960 to 1999. The collection concerns his career as a painter and teacher and his research and writings about the history of art in Provincetown, Massachusetts. Found within the papers are correspondence, writings, subject files, printed material, and photographs.
Among the biographical materials are résumés, a personal statement, the transcript of Tabitha Vevers's 1986 "Conversation with My Father," and applications for grants to study Provincetown artists and the history of the Provincetown art community from the 1920s to the 1950s. Personal and professional includes some letters to his wife Elspeth.
The collection as a whole—and especially Vevers's writings and subject files–focuses on the Provincetown art community, its history and significance. Vevers's writings include many lectures prepared for classes he taught at Purdue University and the Provincetown Art Association and Museum, catalog essays, and notes. There are notes and research materials about artists Houghton Cranford Smith, E. Ambrose Webster, Edwin Dickinson, and Lucy and William L'Engle, and subject files about the Provincetown Art Association and Museum, Long Point Gallery, and other galleries in the area, as well as a file of Provincetown-related obituaries and eulogies for Hans Hofmann, Robert Motherwell, and Jack Tworkov, with Vevers's eulogies for Tworkov and Myron Stout.
Printed materials consist mainly of clippings, exhibition catalogs and announcements relating to Vevers and his art interests. Artwork consists of a small print and watercolor, probably by Vevers, as well as a pen-and-ink portrait by an unidentified artist.
Photographs are mainly of artwork by Vevers. The two images of Vevers show him as a young boy and in 1984 at work in his studio. There are several photographs of exhibition installations at the Sun Gallery in Provincetown, 1958-1959, identified artists are: Yvonne Andersen, Dominic Falcone, Red Grooms, Taro and Gwen Yamamoto.
Arrangement:
The collection is arranged in 7 series:
Missing Title
Series 1: Biographical Materials, 1962-2000 (Box 1; 1 folder)
Series 2: Correspondence, 1950s-2006 (Box 1; 0.1 linear foot)
Series 3: Writings, 1947-2008 (Boxes 1-2; 1.9 linear feet)
Series 4: Subject Files, 1954-2006 (Boxes 2-3; 0.7 linear foot)
Series 5: Printed Material, 1960s-2008 (Boxes 3-4; 0.7 linear foot)
Series 6: Artwork, circa 1950s-circa 2005 (Box 4; 2 folders)
Series 7: Photographs, circa 1950s-1984 (Box 4; 0.1 linear foot)
Biographical / Historical:
Painter and art historian, Tony Vevers (1926-2008) and his artist wife Elspeth Halvorsen (b. 1929) lived and worked in Provincetown, Massachusetts, as year-round or summer residents from 1955 to 2006. From 1964 to 1988, Vevers taught art and art history at Purdue University in Indiana. An active participant in the Provincetown art community, he was also an historian of the Provincetown art scene.
Vevers was born in London, England and immigrated to the United States in 1940, graduating from the Hotchkiss School in Lakeville, Connecticut and Yale University. Following college he studied in Florence, Italy, and with Hans Hofmann in New York City, where he met his wife Elspeth Halvorsen. The couple had two daughters, one of whom, Tabitha is also an artist.
Vevers, active in the Abstract Expressionist movement, had several one-man exhibitions and participated in over one hundred group exhibitions. His works are in the Hirshhorn Museum in Washington, DC, the Delgardo Museum in New Orleans and many universities, corporate, and private collections in the United States and abroad.
Tony Vevers died in Chatham, Massachusetts on March 2, 2008 following complications from pneumonia.
Related Materials:
Also found in the Archives of American Arts are two oral history interviews with Tony Vevers, one conducted by Dorothy Seckler 1965 September 9, the second conducted by Robert F. Brown in 1998 July 9 and August 25.
Provenance:
The papers were donated to the Archives of American Art in 2013 by Elspeth Halvorsen-Vevers the widow of Vevers.
Restrictions:
Use of original materials 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.
Occupation:
Painters -- Massachusetts -- Provincetown Search this
REELS N591-N597: Photographs of the Museum, Juliana Force, Herman Moore; scrapbooks on the Whitney Studio Club, Whitney Studio Galleries and the Museum, 1927-1965.
REELS N599-N604: Notebooks of Edwin W. Dickinson; photographs and provenance information for works by Philip Evergood; a catalog of information and some photographs of Chinese ink drawings and other works by Reginald Marsh; and photographs and information on Bernard Reder, Jack Tworkov, Max Weber (portions also microfilmed on reel NY59-8 (fr. 497-658), reel NY59-9 (fr. 1-51), and William Zorach.
REELS N604-N609: Exhibition catalogs, 1946-1966, for artists and groups shows at the Museum, including Robert Feke, William Rimmer, Ralph Blakelock, Albert Maurer, Albert Pinkham Ryder, Yasuo Kuniyoshi, Thomas Cole, Max Weber, Arshile Gorky, Mark Tobey, John Sloan, Loren MacIver, I. Rice Pereira, George Grosz, Reginald Marsh, Charles Burchfield, Morris Graves, Theodore Roszak, John Marin, Hans Hofmann, Bradley Tomlin, Stuart Davis, Milton Avery, Lee Gatch, Jose De Creeft, Maurice Prendergast, Edward Hopper, Hyman Bloom, Robert E. Jones, Balcomb Greene, Karl Zerbe, Arthur G. Dove, William Zorach, Philip Evergood, Bernard Reder, Herbert Feber, Oliver O'Connor Barrett,Arthur B. Davies, Jose De Rivera, Paul Burlin, Joseph Stella, Jack Tworkov, Ivan Albright, Stuart Davis, Edwin Dickinson, John Quidor, and Niles Spencer.
REELS N646-N694: Artists' files on: Oliver O'Connor Barrett,William Baziotes, George Bellows, Thomas Hart Benton, Peter Blume, James Brooks, Patrick Henry Bruce, Charles Burchfield, Paul Burlin, David Burliuk, Paul Cadmus, Mary Cassatt, Thomas Cole, Glenn Coleman, Jon Corbino, John Steuart Curry, Jo Davidson, Arthur B. Davies, Jose DeCreeft, Charles Demuth, Jose De Rivera, Arthur Dove, Guy Pène du Bois, Stuart Davis, Frank Duveneck, Ralph Earl, Eastman Johnson, The Eight, Philip Evergood, Robert Feke, Lyonel Feininger, Ernest Fiene, George Fuller, Lee Gatch, William Glackens, Arshile Gorky, Balcomb Greene, Chaim Gross, George Grosz, William Harnett, Marsden Hartley, Childe Hassam, John Heliker, Robert Henri, Hans Hofmann, George Inness, Leon Kelly, Franz Kline, Karl Knaths, Leon Kroll, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Robert Laurent, Ernest Lawson, Jack Levine, Seymour Lipton, George B. Luks,
Stanton Macdonald-Wright, Loren MacIver, John Marin, Reginald Marsh, Alfred Maurer, K. H. Miller, Robert Motherwell, William Mount, Jerome Myers, Louise Nevelson, Georgia O'Keeffe (portions also microfilmed on reels NY59-13 (fr. 98-115, 406-424, 586-685), reel NY59-14 (entire), and reel NY59-15 (fr. 1-140, 145-153), I. Rice Pereira, Bernard Perlin, Joseph Pollett, Jackson Pollock, Reginald Pollack, Henry V. Poor, Richard Pousette-Dart, Maurice Prendergast, Abraham Rattner, Bernard Reder, Ad Reinhardt, William Rimmer, Larry Rivers, Hugo Robus, Theodore Roszak, Mark Rothko, Concetta Scarvaglione, Henry Schnakenberg, Ben Shahn, John Sloan, David Smith, Eugene Speicher, Theodoros Stamos, Joseph Stella, Maurice Sterne, Mark Tobey, Bradley Tomlin,Trajan, Allen Tucker, John Twachtman, Jack Tworkov, Abraham Walkowitz (also on reel NY/59-15) , Max Weber, James M. Whistler, Gertrude Whitney, Grant Wood, Alexander Wyant, Mahonri Young, and William Zorach.
REELS NWH 1-NWH 7: Artist files on Charles Sheeler, Bernard Karfiol, Louis Eilshemius; scatterred records of the Whitney Studio Club and Museum, 1914-1945, including minutes, Oct. 15, 1930, and Whitney Studio ledgers, 1928-1931; catalogs of one-man shows, 1932-1945; catalogs of annual painting exhibitions, 1932-1940, sculpture, watercolor and drawing exhibitions, 1933-1945, and group exhibitions, 1932-1945; and clippings, Oct. 1935-1936.
REELS NY59/8 (fr. 256-end)-NY59/10: Files on Max Weber, including biographical material, lists of work, and miscellany. Also found (NY59/8 frames 354-383) are ca.20 letters from Weber to Abraham Walkowitz, 1907-1924.
Biographical / Historical:
Whitney Museum of American Art is an American art museum in New York, New York. Founded by Gertrude Vanderbilt Whitney and formally opened in 1931. Previous to its opening as a museum it was known as the Whitney Studio Club (1914-28) and Whitney Studio Galleries (1928-30).
Provenance:
The Weber files on reels NY59/8-10 were lent for microfilming 1959 by the Whitney Museum of American Art; the remainder was lent 1964-1967; additional material from the Museum was lent at the same time, and subsequently donated, including the papers of Lloyd Goodrich, Juliana Force, Thomas B. Clarke, the American Art Research Council, and Gertrude Vanderbilt Whitney; these have each been cataloged separately. Portions of Weber, and O'Keeffe material that was microfilmed in 1959 were refilmed in 1967.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- United States Search this
Artists -- Exhibitions -- New York (State) -- New York Search this
