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The Eight : Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, John Sloan : exhibition of paintings, October 23-December 14, 2002 / [essay by Valerie Ann Leeds ; artist biographies compiled by Andrew Thompson ; research and cataloging by Don Sparacin and Raechel Davidson]

Author:
Leeds, Valerie Ann 1958-  Search this
Owen Gallery  Search this
Physical description:
107 p. : col. ill. ; 23 cm
Type:
Exhibitions
Date:
2002
C2002
20th century
Topic:
Eight (Group of American artists)  Search this
Art, American  Search this
Ashcan school of art  Search this
Call number:
N6512.5.E4 E54 2002
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_695122

Owen Gallery records

Creator:
Owen Gallery  Search this
Names:
Benton, Thomas Hart, 1889-1975  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Glackens, William J., 1870-1938  Search this
Henri, Robert, 1865-1929  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Owen, Michael  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, John, 1871-1951  Search this
Yost, James  Search this
Extent:
9.4 Linear feet
0.093 Gigabytes
Type:
Archival materials
Collection descriptions
Gigabytes
Date:
1929-2010
bulk 1980-2010
Summary:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibition files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Scope and Contents:
The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Artists represented include Thomas Hart Benton, Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, John Sloan, and others. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibitions files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.
Arrangement:
The collection is arranged as four series

Series 1: Exhibition Files, 1989-2010 (2.1 linear feet; Box 1-3, 0.001 GB; ER01)

Series 2: Inventory and Sales Records, 1929-2010, bulk 1980-2010 (5.7 linear feet; Box 3-8, 0.092 GB; ER02-ER04)

Series 3: Printed Material, 1994-2008 (0.4 linear feet; Box 8-9)

Series 4: Records Regarding Yasuo Kuniyoshi, circa 1955-2000 (1.2 linear feet; Box 9-10)
Biographical / Historical:
Owen Gallery, a New York gallery specializing in late nineteenth and early twentieth century American art, operated from 1986 to 2009 and was owned and directed by Michael Owen and James Yost. The gallery represented many artists associated with The Eight, Ashcan, and American modernism. Although exhibitions and the retail gallery have closed, the business remains in operation.
Provenance:
The Owen Gallery records were donated to the Archives of American Art in 2015 and 2016 by Michael Owen and James Yost.
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 Owen Gallery 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, American -- 19th century  Search this
Art, American -- 20th century  Search this
Art, Modern -- United States  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Ashcan school of art  Search this
Eight (Group of American artists)  Search this
Citation:
Owen Gallery records, 1929-2010, bulk 1980-2010. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.owengall
See more items in:
Owen Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-owengall
Additional Online Media:

Ira and William Glackens papers

Creator:
Glackens, Ira, 1907-1990  Search this
Names:
Delaware Art Museum  Search this
Kraushaar Galleries  Search this
National Gallery of Art (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Williams College. Museum of Art.  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Barnes, Laura L., 1875-1966  Search this
Buckley, Charles E.  Search this
Bullard, E. John(Edgar John), 1942-  Search this
Dimock, Ira  Search this
Fitzgerald, Irene Dimock  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Kuhn, Walt, 1877-1949  Search this
Liff, Vivian  Search this
Luks, George Benjamin, 1867-1933  Search this
Morse, Stearns  Search this
Perlman, Bennard B.  Search this
Prendergast, Eugénie  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Schwab, Arnold T.  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, Helen Farr, 1911-  Search this
Extent:
2.3 Linear Feet
Type:
Archival materials
Collection descriptions
Photographs
Sound recordings
Writings
Date:
circa 1900-1990
Summary:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Scope and Content Note:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)
Biographical Note:
Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.
Related Materials:
The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.
Separated Material:
Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.
Provenance:
The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Ira and William Glackens 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.
Topic:
Illustrators -- Pennsylvania -- Philadelphia  Search this
Authors -- Pennsylvania -- Philadelphia  Search this
Painting, American  Search this
Eight (Group of American artists) -- Photographs  Search this
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- United States  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Photographs
Sound recordings
Writings
Citation:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.glacwill
See more items in:
Ira and William Glackens papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-glacwill
Additional Online Media:

Exhibition of paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan

Creator:
Macbeth Gallery  Search this
Subject:
Davies, Arthur B. (Arthur Bowen)  Search this
Glackens, William J. (William James)  Search this
Henri, Robert  Search this
Lawson, Ernest  Search this
Luks, George Benjamin  Search this
Prendergast, Maurice Brazil  Search this
Shinn, Everett  Search this
Sloan, John French  Search this
Macbeth Gallery  Search this
Type:
Printed Materials
Date:
1908
Topic:
Ashcan school of art  Search this
Eight (Group of American artists)  Search this
Exhibitions  Search this
Record number:
(DSI-AAA)6211
See more items in:
Miscellaneous art exhibition catalog collection, 1813-1953
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6211
Additional Online Media:

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Archival materials
Collection descriptions
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation to keep American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Rights:
The Macbeth Gallery 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:
Curators -- New York (State) -- New York  Search this
Eight (Group of American artists)  Search this
Art directors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Additional Online Media:

Ira and William Glackens papers, circa 1900-1990

Creator:
Glackens, Ira, 1907-1990  Search this
Glackens, William J. (William James), 1870-1938  Search this
Subject:
Morse, Stearns  Search this
Glackens, William J. (William James)  Search this
Shinn, Everett  Search this
Schwab, Arnold T.  Search this
Buckley, Charles E. (Charles Edward)  Search this
Sloan, Helen Farr  Search this
Glackens, Edith  Search this
Barnes, Laura L.  Search this
Dimock, Ira  Search this
Barnes, Albert C. (Albert Coombs),  Search this
Kuhn, Walt  Search this
Bullard, E. John (Edgar John),  Search this
Perlman, Bennard B.  Search this
Luks, George Benjamin  Search this
Fitzgerald, Irene Dimock  Search this
Glackens, Ira  Search this
Liff, Vivian  Search this
Prendergast, Maurice Brazil  Search this
Prendergast, Eugénie  Search this
National Gallery of Art (U.S.)  Search this
Kraushaar Galleries  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Williams College.Museum of Art  Search this
Delaware Art Museum  Search this
Topic:
Eight (Group of American artists)  Search this
Sound recordings  Search this
Painting, Modern  Search this
Photographs  Search this
Painting, American  Search this
Record number:
(DSI-AAA_CollID)7175
(DSI-AAA_SIRISBib)209312
AAA_collcode_glacwill
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209312
Additional Online Media:

Robert Henri papers, 1870-1954

Creator:
Henri, Robert, 1865-1929  Search this
Subject:
Hovenden, Thomas  Search this
Bouguereau, William Adolphe  Search this
Anshutz, Thomas Pollock  Search this
Calder, Alexander Stirling  Search this
Grafly, Charles  Search this
Redfield, Edward Willis  Search this
Sloan, John French  Search this
MacRae, Elmer Livingston  Search this
Parrish, Maxfield  Search this
Pennsylvania Academy of the Fine Arts  Search this
Topic:
Painters  Search this
Art teachers  Search this
Travel diaries  Search this
Diaries  Search this
Sketchbooks  Search this
Eight (Group of American artists)  Search this
Record number:
(DSI-AAA_CollID)7731
(DSI-AAA_SIRISBib)209896
AAA_collcode_henrrobe
Theme:
Diaries
Diaries
Sketches & Sketchbooks
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209896

Miscellaneous art exhibition catalog collection, 1813-1953

Creator:
Archives of American Art  Search this
Subject:
Kuhn, Walt  Search this
Macbeth Gallery  Search this
American Antiquarian Society  Search this
Topic:
Art, Modern  Search this
Art galleries, Commercial  Search this
Eight (Group of American artists)  Search this
Exhibition catalogs  Search this
Modernism (Art)  Search this
Artists  Search this
Art, American  Search this
Record number:
(DSI-AAA_CollID)9520
(DSI-AAA_SIRISBib)211719
AAA_collcode_archamea
Theme:
The Art Market
Publications
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211719
Additional Online Media:

Macbeth Gallery records, 1838-1968, bulk 1892-1953

Creator:
Macbeth Gallery  Search this
Subject:
Stuart, Gilbert  Search this
Macbeth, Robert W. (Robert Walker)  Search this
Weir, Robert Walter  Search this
McIntyre, Robert G. (Robert George)  Search this
Macbeth, William  Search this
Hartley, Marsden  Search this
Homer, Winslow  Search this
Topic:
Curators  Search this
Art galleries, Commercial  Search this
Eight (Group of American artists)  Search this
Art dealers  Search this
Art  Search this
Art directors  Search this
Scrapbooks  Search this
Artists  Search this
Photographs  Search this
Daguerreotypes  Search this
Art, American  Search this
Record number:
(DSI-AAA_CollID)9703
(DSI-AAA_SIRISBib)211939
AAA_collcode_macbgall
Theme:
Art Movements and Schools
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211939
Additional Online Media:

Owen Gallery records, 1929-2010, bulk 1980-2010

Creator:
Owen Gallery  Search this
Subject:
Davies, Arthur B. (Arthur Bowen)  Search this
Henri, Robert  Search this
Kuniyoshi, Yasuo  Search this
Benton, Thomas Hart  Search this
Yost, James  Search this
Luks, George Benjamin  Search this
Prendergast, Maurice Brazil  Search this
Sloan, John French  Search this
Glackens, William J. (William James)  Search this
Lawson, Ernest  Search this
Shinn, Everett  Search this
Owen, Michael  Search this
Topic:
Eight (Group of American artists)  Search this
Art, American  Search this
Ashcan school of art  Search this
Art, Modern  Search this
Art galleries, Commercial  Search this
Record number:
(DSI-AAA_CollID)16259
(DSI-AAA_SIRISBib)370966
AAA_collcode_owengall
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_370966
Additional Online Media:

Oral history interview with Abraham Walkowitz, 1958 December 8-22

Interviewee:
Walkowitz, Abraham, 1880-1965  Search this
Interviewer:
Lerner, Abram, 1913-2007  Search this
Subject:
Cézanne, Paul  Search this
Cox, Kenyon  Search this
Hassam, Childe  Search this
Boswell, Peyton  Search this
Monet, Claude  Search this
Weber, Max  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Bliss, Lizzie P. (Lizzie Plummer)  Search this
Pach, Walter  Search this
Duncan, Isadora  Search this
Epstein, Jacob  Search this
O'Keeffe, Georgia  Search this
Chase, William Merritt  Search this
Kuhn, Walt  Search this
Society of Independent Artists (New York, N.Y.)  Search this
291 (Gallery)  Search this
Armory Show (1913 : New York, N.Y.)  Search this
Topic:
Art, Modern  Search this
Art, American  Search this
Painters  Search this
Eight (Group of American artists)  Search this
Sound recordings  Search this
Art critics  Search this
Interviews  Search this
Record number:
(DSI-AAA_CollID)13176
(DSI-AAA_SIRISBib)214156
AAA_collcode_walkow58
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214156

8 : an exhibition organized by the Syracuse Museum of Fine Arts, 3 February-24 February 1958

Title:
Eight
Author:
Rutter, John  Search this
Syracuse Museum of Fine Arts  Search this
Physical description:
[24] p. : ill ; 28 cm
Type:
Exhibitions
Date:
1958
[1958]
20th century
Topic:
Eight (Group of American artists)  Search this
Painting, American  Search this
Call number:
ND212.5.E4 A15 1958
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_827219

William Glackens and the Eight : the artists who freed American art / Ira Glackens

Title:
William Glackens and the Ashcan Group, 1957
Author:
Glackens, Ira 1907-1990  Search this
Subject:
Glackens, William J. 1870-1938  Search this
Physical description:
267 p., [41] p. of plates : ill. ; 24 cm
Type:
Biography
Place:
United States
Date:
1990
1983
C1990, c1957, c1983
Topic:
Painters  Search this
Eight (Group of American artists)  Search this
Ashcan school of art  Search this
Call number:
ND237.G5 G56 1990
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_851182

Arthur B. Davies (1862-1928) [and Everett Shinn] : exhibition commemorating the 50th anniversary of the original "The Eight" show, New York, Feb. 1908

Title:
Everet Shinn (1876-1953) [and Arthur B. Davies]
Everett Shinn (1876-1953) : [exhibition : February 1-28th, 1958]
Arthur B. Davies (1862-1928) : [exhibition : February 1-28th, 1958]
Exhibition commemorating the 50th anniversary of the original "The Eight" show, New York, Feb. 1908
Author:
Davies, Arthur B (Arthur Bowen) 1862-1928  Search this
Shinn, Everett 1876-1953  Search this
Graham Gallery  Search this
Subject:
Davies, Arthur B (Arthur Bowen) 1862-1928  Search this
Shinn, Everett 1876-1953  Search this
Physical description:
[12] p. : ill. ; 16 x 23 cm
Type:
Exhibitions
Date:
1958
[1958]
Topic:
Eight (Group of American artists)  Search this
Call number:
ND237.D3 A4 1958
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_763648

The Eight : exhibition : October 25-December 10, 2005

Author:
Owen, Michael  Search this
Owen Gallery  Search this
Physical description:
120 p. : col. ill. ; 23 cm
Type:
Exhibitions
Date:
2005
C2005
19th century
20th century
Topic:
Eight (Group of American artists)  Search this
Painting, American  Search this
Call number:
ND212.5.E4 E54 2005
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_783879

Miniatures : your own museum of art in miniature / the Metropolitan Museum of Art

Title:
Album of miniatures
Metropolitan Museum of Art miniatures
Author:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Subject:
Leonardo da Vinci 1452-1519  Search this
Goya, Francisco 1746-1828  Search this
Habsburg, House of Art collections  Search this
Raphael 1483-1520  Search this
Rubens, Peter Paul Sir 1599-1640  Search this
Velázquez, Diego 1599-1660  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Physical description:
97 v. : col. ill. ; 26 cm
Type:
Books
Catalogs
Place:
Italy
Iran
Date:
1947
1957
[c1947-1957]
Topic:
Art--Study and teaching  Search this
Flowers in art  Search this
Painting, Renaissance  Search this
Portraits, European  Search this
Stanza della Segnatura (Vatican Palace, Vatican City)  Search this
Eight (Group of American artists)  Search this
Miniature painting, Iranian  Search this
Illumination of books and manuscripts  Search this
Art, Medieval  Search this
Call number:
N5300 .M56 1947
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_542428

The immortal eight : American painting from Eakins to the Armory show, 1870-1913 / by Bennard B. Perlman ; introd. by Mrs. Joan Sloan

Author:
Perlman, Bennard B  Search this
Physical description:
224 p. : ill. (some col.) ; 29 cm
Type:
Books
Date:
1979
C1979
19th century
20th century
Topic:
Eight (Group of American artists)  Search this
Ashcan school of art  Search this
Painting, American  Search this
Call number:
ND210 .P4 1979X
ND210.P4 1979X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_400203

Painters of a new century : the Eight & American art / Elizabeth Milroy ; with an essay by Gwendolyn Owens

Author:
Milroy, Elizabeth 1954-  Search this
Owens, Gwendolyn  Search this
Milwaukee Art Museum  Search this
Physical description:
200 p. : ill. (some col.) ; 24 x 28 cm
Type:
Exhibitions
Place:
United States
Date:
1991
C1991
20th century
Topic:
Eight (Group of American artists)  Search this
Modernism (Art)  Search this
Painting, American  Search this
Call number:
ND212.5.E4 M5 1991X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_415535

The eight : [exhibition] September 15-October 27, 1985, The New Britain Museum of Art / Arthur B. Davies ... [et al.]

Author:
Davies, Arthur B (Arthur Bowen) 1862-1928  Search this
Dubois, Daniel  Search this
New Britain Museum of American Art  Search this
Physical description:
32 p. : ill. ; 22 cm
Type:
Exhibitions
Date:
1985
[1985?]
Topic:
Eight (Group of American artists)  Search this
Art, American  Search this
Ashcan school of art  Search this
Call number:
N6512.5.E4 N53 1985
N6512.5.E4N53 1985
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_432924

Picturing the city : New York in the press and the art of the Ashcan school, 1890-1917 / by Rebecca Zurier

Author:
Zurier, Rebecca  Search this
Physical description:
2 v. : ill
Type:
Books
In art
Place:
New York (N.Y.)
Date:
1988
19th century
20th century
Topic:
Eight (Group of American artists)  Search this
Ashcan school of art  Search this
Art, American  Search this
Call number:
N6512.5.E4 Z96 1988a
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_454450

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