REEL 323: Photographs of Fechin, his family, his paintings, and of Lillian Gish with Feshin and his portrait of her; exhibition catalogs, clippings and two Russian magazines containing articles about him.
REEL 3254: Magazine articles about Fechin from Persimmon Hill, American West and House Beautiful; two exhibition catalogs, Nicolai Fechin Centennial Exhibition, 1981, and Fechin: The Builder by Eya Fechin, 1982; and a membership brochure and a newsletter from the Fechin Institute.
Biographical / Historical:
Painter; Taos, N.M. Born in Kazan, Russia. He came to the United States in 1923. He lived in Taos from 1927 to 1938.
Provenance:
Material on reel 323 lent for microfilming, 1972, by Mrs. Alexandra Fechin, who subsequently donated 4 photographs and an exhibition catalog. Material on reel 3254 donated by Eya Fechin, Nikolai's daughter, 1984. This material was transferred to the NMAA/NPG 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.
The Charles W. Dahlgreen papers measure 1.1 linear feet and date from 1886-1957. Included is biographical material, writings, correspondence, works of art, photographs, financial material, exhibition material and printed material.
Biographical material includes two biographical accountsand a manuscript for Dahlgreen's autobiography and certifcates from the Art Institute of Chicago and a Canadian mining certificate. Writings include 4 notebooks about on his works, recipes for paint and printmaking materials, and notes on his family history. Correspondence relates to Dahlgreen's art-related activities and his involvement with various art organizations. Artwork includes 9 sketchbooks, 1886-1908, and 45 drawings, 1906-1909. Photographs are of Dahlgreen in his studio, with his fiancee, his mobile studio, and his works of art. Also included are photographs of lodge banners, Leon Makielski posed with his portrait of Dahlgreen, Nicoli Fechin, and images of the Brown County, the Indiana Colony, the Society of Etchers members Lucie Hartrath and Bertha Jaques, and others. Financial material consists of an account book, 1912-1920, containing a price and sales list, an dues ledger, 1918-1923, a receipt book for works of art, 1933-1940, an income and expenses ledger, 1942-1947, an undated price list for works of art, miscellaneous receipts and address files and lists works of art. Exhibition material consists of 30 exhibition prospectuses. Printed material includes clippings and bulletins.
REEL 3954, frames 877-922 Three photographs of Dahlgreen; a photograph, ca. 1931, of his mobile studio; clippings, 1924-1936; and a scrapbook of clippings, 1901-1950.
Biographical / Historical:
Charles W. Dahlgreen (1864-1955) was a Painter and printmaker in Chicago, Ill.
Provenance:
Portions of material on reel 3954 donated 1986; and portions (fr. 877-922) lent for microfilming 1986 all by Grant Dahlgreen, Charles W. Dahlgreen's grandson. Additional material donated in 2020 by Kate Husar, Charles W. Dahlgreen's great-great-grandaughter.
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.
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 records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.
The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.
Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.
Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.
Missing Title
Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)
Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)
Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.
Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.
Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.
As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.
The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the 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.
