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Creator:

Mason, Lauris  Search this

Names:

Albright, Ivan, 1897-1983  Search this

Bellows, George, 1882-1925  Search this

Ludman, Joan  Search this

Morgan, Charles H. (Charles Hill), 1902-1984  Search this

Extent:

0.02 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1976-2012

Summary:

The Lauris Mason research material on George Bellows dates from 1976-2012 and measures 0.02 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977), through correspondence, a draft of the catalog, and printed material.

Scope and Contents:

The Lauris Mason research material on George Bellows dates from 1976-2012 and measures 0.02 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977).

Records include correspondence with Charles H. Morgan and others discussing inquiries for information on Bellows and his lithographs, and progress on the catalog. Correspondents include museums and galleries such as Allison Gallery, Amon Carter Museum, Kennedy Galleries, the Metropolitan Museum of Art, and others.

Other documentation includes a draft introduction for the catalog written by Morgan and related correspondence, and letters concerning a dispute with Jean Bellows Booth, daughter of George Bellows, over permissions to access her father's record book and publish his lithographs. Also found is a pamphlet announcing the publication, copies of two reviews of the catalog raisonné, and unrelated 1978 correspondence with Ivan Albright related to Mason's request to purchase prints by Albright.

Biographical / Historical:

Coral Gables, Florida, author, editor, and art historian Lauris Mason authored several anthologies and bibliographies on printmaking. Her publications include a catalog raisonné of the lithographs of New York painter and printmaker George Bellows, which she co-authored with Joan Ludman (1932-2015), an art historian with expertise in prints, and Charles Hill Morgan (1902-1984), an educator and art historian from Amherst, Massachusetts. Mason and her husband Daniel J. Mason are also collectors of pop-up books and related ephemera.

Provenance:

The collection was donated to the Archives of American Art by Lauris Mason in 1989 and 2023.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Authors -- Florida -- Coral Gables  Search this

Editors -- Florida -- Coral Gables  Search this

Art historians -- Florida -- Coral Gables  Search this

Topic:

Women art historians  Search this

Identifier:

AAA.masolaur

See more items in:

Lauris Mason research material on George Bellows

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9241331a2-2497-4db0-a8f7-5f88576a9933

EDAN-URL:

ead_collection:sova-aaa-masolaur

Creator:

Kuhn, Walt, 1877-1949  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Kit Kat Club (New York, N.Y.)  Search this

Penguin Club (New York, N.Y.)  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Vera, d. 1961  Search this

Oldfield, Otis, 1890-1969  Search this

Pach, Walter, 1883-1958  Search this

Quinn, John, 1870-1924  Search this

Sheeler, Charles, 1883-1965  Search this

Photographer:

Rainford, Percy  Search this

Weston, Edward, 1886-1958  Search this

Extent:

31 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Scrapbooks

Sound recordings

Date:

1859-1984

bulk 1900-1949

Summary:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

Scope and Contents note:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.

Arrangement:

This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.

Biographical/Historical note:

Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.

Related Archival Materials note:

The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.

Provenance:

The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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.

Occupation:

Etchers -- New York (State) -- New York  Search this

Watercolorists -- New York (State) -- New York  Search this

Lithographers -- New York (State) -- New York  Search this

Topic:

New York school of art  Search this

Modernism (Art)  Search this

Function:

Arts organizations -- New York (State)

Genre/Form:

Drawings

Diaries

Scrapbooks

Sound recordings

Citation:

Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

Identifier:

AAA.kuhnwalt

See more items in:

Walt Kuhn Family papers and Armory Show records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e

EDAN-URL:

ead_collection:sova-aaa-kuhnwalt

Collection Creator:

Shahn, Ben, 1898-1969  Search this

Container:

Box 16, Folder 11

Type:

Archival materials

Date:

1957-1973

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

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:

Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

Ben Shahn papers

Ben Shahn papers / Series 2: Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cc59f2c9-6d78-4bc1-9063-49276ce2e39c

EDAN-URL:

ead_component:sova-aaa-shahben-ref463

Collection Creator:

White, Charles (1918-1979)  Search this

Container:

Box 4, Folder 65

Type:

Archival materials

Date:

1940-1975

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

See more items in:

Charles W. White papers

Charles W. White papers / Series 3: Writings / 3.1: Writings by White

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ecf58d57-0859-4f7b-b2a1-3a17786b0774

EDAN-URL:

ead_component:sova-aaa-whitchar-ref197

Collection Creator:

White, Charles (1918-1979)  Search this

Container:

Box 1, Folder 5

Type:

Archival materials

Date:

circa 1941-circa 1975

Collection Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:

Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.

See more items in:

Charles W. White papers

Charles W. White papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93d341657-9dcb-4c11-98ea-f84e1e6f538a

EDAN-URL:

ead_component:sova-aaa-whitchar-ref20

Artist:

Jack Levine, American, b. Boston, Massachusetts, 1915—2010  Search this

Medium:

Oil on canvas

Dimensions:

30 1/8 X 45 1/8 IN. (76.5 X 114.5 CM.)

Type:

Painting

Date:

(1939)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966

Accession Number:

66.3061

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

Social Realism

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py282ea7c87-fb36-4080-82ff-6c186df36fdd

EDAN-URL:

edanmdm:hmsg_66.3061

Attribution:

James Peale, 1749 - 24 May 1831  Search this

Sitter:

John Adams, 30 Oct 1735 - 4 Jul 1826  Search this

Medium:

Oil

Dimensions:

27.3cm x 22.2cm (10 3/4" x 8 3/4"), Accurate

Type:

Painting

Date:

1790s

Topic:

Interior  Search this

John Adams: Male  Search this

John Adams: Literature\Writer  Search this

John Adams: Politics and Government\Congressman\Continental congressman  Search this

John Adams: Politics and Government\Statesman\Colonial statesman\Signer of Declaration  Search this

John Adams: Politics and Government\Vice-President of US  Search this

John Adams: Politics and Government\Diplomat  Search this

John Adams: Politics and Government\President of US  Search this

John Adams: Politics and Government\State Legislator\Massachusetts  Search this

Portrait  Search this

Credit Line:

Owner: Kennedy Galleries, Inc.

Object number:

DLR00136

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm45f464e6b-3113-4496-aead-e0d0b6a54c88

EDAN-URL:

edanmdm:npg_DLR00136

Artist:

Henry Benbridge, 20 Oct 1743 - 25 Jan 1812  Search this

Sitter:

Charles Cotesworth Pinckney, 25 Feb 1746 - 25 Aug 1825  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 76.7 x 64 x 3.8cm (30 3/16 x 25 3/16 x 1 1/2")

Frame: 92.7 x 79.4 x 6.7cm (36 1/2 x 31 1/4 x 2 5/8")

Type:

Painting

Date:

c. 1773

Topic:

Costume\Headgear\Military  Search this

Exterior\Forest  Search this

Charles Cotesworth Pinckney: Male  Search this

Charles Cotesworth Pinckney: Law and Crime\Lawyer  Search this

Charles Cotesworth Pinckney: Politics and Government\Presidential candidate  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Army\Officer\General  Search this

Charles Cotesworth Pinckney: Politics and Government\Diplomat\Minister  Search this

Charles Cotesworth Pinckney: Politics and Government\US Congressman\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Governor\South Carolina  Search this

Charles Cotesworth Pinckney: Politics and Government\Statesman\Signer of Constitution  Search this

Charles Cotesworth Pinckney: Politics and Government\State Senator\South Carolina  Search this

Charles Cotesworth Pinckney: Military and Intelligence\Prisoner of War  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; frame conserved with funds from the Smithsonian Women's Committee

Object number:

NPG.67.1

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 142

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4aee895d3-c180-49f6-a193-8cc65d562924

EDAN-URL:

edanmdm:npg_NPG.67.1

Artist:

Soss Efram Melik, 02 Aug 1914 - 11 Oct 2003  Search this

Sitter:

Alexander Humphreys Woollcott, 19 Jan 1887 - 23 Jan 1943  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 87 x 61cm (34 1/4 x 24")

Frame: 96.8 x 72.1 x 3.8cm (38 1/8 x 28 3/8 x 1 1/2")

Type:

Painting

Place:

United States\New York\Kings\New York

Date:

1938

Topic:

Printed Material\Book  Search this

Costume\Dress Accessory\Eyeglasses  Search this

Home Furnishings\Furniture\Seating\Chair\Armchair  Search this

Home Furnishings\Furniture\Bookcase  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Interior\Library  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Alexander Humphreys Woollcott: Male  Search this

Alexander Humphreys Woollcott: Literature\Writer  Search this

Alexander Humphreys Woollcott: Journalism and Media\Journalist  Search this

Alexander Humphreys Woollcott: Performing Arts\Performer\Radio performer  Search this

Alexander Humphreys Woollcott: Literature\Writer\Essayist  Search this

Alexander Humphreys Woollcott: Performing Arts\Theater critic  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.68.35

Restrictions & Rights:

Usage conditions apply

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm485930c17-5611-419a-b475-53279004102d

EDAN-URL:

edanmdm:npg_NPG.68.35

Artist:

George Catlin, 26 Jul 1796 - 23 Dec 1872  Search this

Sitter:

William Clark, 1 Aug 1770 - 1 Sep 1838  Search this

Medium:

Oil on canvas

Dimensions:

72.4 x 59.7cm (28 1/2 x 23 1/2")

Frame: 87.9 x 75.6 x 8.3cm (34 5/8 x 29 3/4 x 3 1/4")

Type:

Painting

Place:

United States\Missouri\Saint Louis City\Saint Louis

Date:

1832

Topic:

Interior  Search this

Printed Material\Book  Search this

Printed Material\Document  Search this

Home Furnishings\Furniture\Table  Search this

Equipment\Drafting & Writing Implements\Writing implement\Pen\Quill  Search this

Architecture\Door  Search this

Home Furnishings\Globe  Search this

Container\Inkwell  Search this

William Clark: Male  Search this

William Clark: Natural Resource Occupations\Explorer  Search this

William Clark: Politics and Government\Governor\Territorial Governor\Missouri  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.71.36

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 122

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4863b3d40-5951-4e01-9de2-0043b59f235c

EDAN-URL:

edanmdm:npg_NPG.71.36

Cast after:

Thomas Dow Jones, 11 Dec 1811 - 27 Feb 1881  Search this

Sitter:

Abraham Lincoln, 12 Feb 1809 - 15 Apr 1865  Search this

Medium:

Painted plaster

Dimensions:

83.5cm (32 7/8"), Accurate

Type:

Sculpture

Date:

1861 (casting date unknown)

Topic:

Personal Attribute\Facial Hair\Beard  Search this

Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this

Abraham Lincoln: Male  Search this

Abraham Lincoln: Law and Crime\Lawyer  Search this

Abraham Lincoln: Military and Intelligence\Soldier  Search this

Abraham Lincoln: Politics and Government\President of US  Search this

Abraham Lincoln: Society and Social Change\Reformer\Environmentalist  Search this

Abraham Lincoln: Business and Finance\Businessperson\Merchant  Search this

Abraham Lincoln: Politics and Government\US Congressman\Illinois  Search this

Abraham Lincoln: Politics and Government\Government official\Surveyor  Search this

Abraham Lincoln: Politics and Government\State Senator\Illinois  Search this

Abraham Lincoln: Politics and Government\Government official\Postmaster  Search this

Abraham Lincoln: Crafts and Trades\Boat builder  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.74.53

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm453cd913f-cc8f-4d32-8e66-db33d2ff4203

EDAN-URL:

edanmdm:npg_NPG.74.53

Artist:

William Page, Jan 1811 - 30 Sep 1885  Search this

Sitter:

William Page, Jan 1811 - 30 Sep 1885  Search this

Medium:

Oil on canvas

Dimensions:

63.5cm x 58cm (25" x 22 13/16"), Accurate

Type:

Painting

Date:

1830

Topic:

Self-portrait  Search this

William Page: Male  Search this

William Page: Visual Arts\Artist\Painter  Search this

William Page: Visual Arts\Artist\Portraitist  Search this

William Page: Visual Arts\Art instructor  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.77.236

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm48e46c7a4-e2f9-4a0b-a00c-e4a30c092976

EDAN-URL:

edanmdm:npg_NPG.77.236

Artist:

Unidentified Artist  Search this

Copy after:

John Singleton Copley, 3 Jul 1738 - 9 Sep 1815  Search this

Sitter:

Joseph Warren, 11 Jun 1741 - 17 Jun 1775  Search this

Medium:

Oil on canvas

Dimensions:

125.7cm x 100.3cm (49 1/2" x 39 1/2"), Accurate

Type:

Painting

Topic:

Home Furnishings\Furniture\Seating\Chair  Search this

Printed Material\Document  Search this

Interior\Interior with Exterior View  Search this

Home Furnishings\Furniture\Table  Search this

Home Furnishings\Drape  Search this

Joseph Warren: Male  Search this

Joseph Warren: Politics and Government\Public official  Search this

Joseph Warren: Military and Intelligence\Soldier\Revolution  Search this

Joseph Warren: Medicine and Health\Physician  Search this

Joseph Warren: Education and Scholarship\Educator\Teacher  Search this

Joseph Warren: Literature\Writer\Magazine article  Search this

Joseph Warren: Politics and Government\Patriot  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.77.33

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4d1b13fc6-a9b6-4f2b-90a2-cb1384b2830e

EDAN-URL:

edanmdm:npg_NPG.77.33

Artist:

Angelica Kauffmann, 30 Oct 1741 - 5 Nov 1807  Search this

Sitter:

John Morgan, 10 Jun 1735 - 15 Oct 1789  Search this

Medium:

Oil on canvas

Dimensions:

Frame: 144.1 x 108.3 x 5.7cm (56 3/4 x 42 5/8 x 2 1/4")

Type:

Painting

Date:

1764

Topic:

Printed Material\Book  Search this

Costume\Jewelry\Ring  Search this

Interior\Interior with Exterior View  Search this

Printed Material\Newspaper  Search this

Home Furnishings\Furniture\Table  Search this

Costume\Robe\Banyan  Search this

John Morgan: Male  Search this

John Morgan: Medicine and Health\Physician  Search this

John Morgan: Literature\Writer\Medical  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; this acquisition was made possible by a generous contribution from the James Smithson Society

Object number:

NPG.78.221

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 140

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm497c62c31-b8ee-4305-b1f5-f9fd59a43f53

EDAN-URL:

edanmdm:npg_NPG.78.221

Artist:

Robert Bolling Brandegee, 1849 - 1922  Search this

Sitter:

Cass Gilbert, 24 Nov 1859 - 17 May 1934  Search this

Medium:

Oil on canvas

Dimensions:

45.7cm x 38.1cm (18" x 15"), Accurate

Type:

Painting

Place:

France\Île-de-France\Ville de Paris, Départment de\Paris

Date:

1880

Topic:

Cass Gilbert: Male  Search this

Cass Gilbert: Visual Arts\Architect  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.96.129

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm419c4b2cf-cff9-41f3-b207-a0dd93216d13

EDAN-URL:

edanmdm:npg_NPG.96.129

Creator:

Sheets, Millard, 1907-1989  Search this

Names:

Dalzell Hatfield Galleries  Search this

Millard Sheets & Associates Designs  Search this

Sheets, Mary Baskerville  Search this

Extent:

27.6 Linear feet

Type:

Collection descriptions

Archival materials

Slides (photographs)

Photographs

Date:

circa 1907-2000

Summary:

The Millard Sheets papers comprise 27.6 linear feet of material dating from circa 1907 to 2000 with bulk dates spanning 1956 to 1981. The collection documents Sheets's career as a designer, painter, and muralist, and his personal and professional interests through correspondence, writings, lectures, printed material, drawings, slides, photographs, and ephemera. A small addition donated 2018 by Carolyn Owen-Toole, Sheet's daughter. There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.

Scope and Content Note:

The personal papers of Millard Sheets (1907-1990) measure 27.6 linear feet and date from circa 1907-2000, with bulk dates of 1956-1981. The collection reflects Sheets's career as a designer, painter, and muralist, as well as his other personal and professional interests, through correspondence, writings, lectures, clippings, blueprints, drawings, slides, photographs, and ephemera.

The Project Files comprise the largest group of materials in the collection and document design work undertaken by Sheets through his company Millard Sheets & Associates Designs. Sheets and his associates produced concept drawings and blueprints and supervised the construction for a wide range of design projects that ranged in scale from architectural plans for private residences to bid proposals for shopping malls and financial institutions located in California and the Southwest.

Sheets designed interior and exterior plans for over forty Home Savings and Loan bank branches in California. The distinctive modular design which Sheets created and then customized by integrating interior and exterior art elements that highlighted local historical events or natural features became synonymous with the image of Home Savings and Loan. Sheets also teamed up with the architect Edward Durrell Stone to produce a proposal for the Capitol Mall Project, an urban renewal project for the Redevelopment Agency of the City of Sacramento. Researchers will find correspondence, job costs and billing statements, and notes that trace the development of these and other building construction projects. In some instances the documents are supplemented by blueprints, photographs, and/or drawings of the project, but in many cases, visual documentation is missing.

The Project Files also document work done by Millard Sheets on public projects such as the Family of Man mural in the Los Angeles City Hall Annex, a mosaic dome in the National Shrine of the Immaculate Conception, Washington, D.C., and the Word of Life mural at the University of Notre Dame, Ind., along with numerous other murals and mosaics created for private individuals and corporations.

The Correspondence Series primarily reflects the interaction between Sheets and his clients, colleagues, and personal acquaintances. These files will prove valuable to researchers who are interested in the way that Sheets's beliefs about the role of art in everyday life impacted the way he conducted business and managed both large and small design projects. The correspondence also reflects Sheets's interest in popular American culture, travel, political issues of the day, and art collecting.

The Membership Files document the wide variety of interests that Sheets maintained through active membership in associations and organizations. The material in this series consists primarily of correspondence, minutes of meetings, and notes which Sheets created or used as he served as a board member or trustee on a number of organizational boards, such as the California Institute of the Arts, the Claremont Colleges, Virginia Steele Scott Foundation, Webb School of California, and Goodwill Industries of Southern California.

Also found in this series is material that documents his interest and participation in various recreational and professional organizations. Sheets maintained a long association with the Economic Roundtable, a group of businessmen who met regularly to give presentations and share discussion on contemporary political and social issues. Sheets was a frequent speaker and his talks given at the Economic Roundtables can be found in Lectures and Speeches, a subseries of the Writings Series.

Included in the Millard Sheets & Associates Designs, Inc. series are records that reflect the day-to-day operations of Sheets's design firm. Found here are chronological copies of correspondence that were sent out, files Sheets maintained on various independent contractors that the design firm frequently used, resumes and letters of recommendation that Sheets received regarding potential employees, as well as records relating to the cost and maintenance of Sheets's office building.

The Teaching and Workshop Files document the instructional activities undertaken by Sheets throughout his career in the arts. Although Sheets became pivotal in establishing a regionally recognized art department at Scripps College in Claremont, California, the files that reflect his academic position there are limited in scope and depth. Researchers will find more substantive the files that he maintained on the numerous art demonstrations and paintings workshops that he conducted privately throughout his career. Sheets traveled extensively around the world through his teaching activities and the files in this series track his path.

Closely related to the Teaching and Workshop Files is the Painting Trips series. The material in these files document Sheets's service as an American Specialist in the Bureau of Educational and Cultural Affairs of the USIS, Department of State. Sheets served two times as a cultural arts representative in Turkey in 1960 and in the former USSR in 1961. Sheets also made numerous trips to South East Asia, which had proved an area of fascination for him since his experiences as a war correspondent in Burma and India in World War II. The files in this series document his painting trips to Tahiti, the Pacific Ocean Rim, and Hawaii. Also found are files that detail his painting activities in Mexico.

The Exhibition Files reflect the records that Sheets maintained regarding his participation in art exhibitions, as well as his files on art shows that he personally directed or organized for public or private groups or organizations. Although Sheets exhibited his work predominantly in the West and Southwest, the files in this series demonstrate that he exhibited both nationally and internationally as well.

Also found within the records for this series are files relating to Sheets's representation of his artwork through established galleries and art agents. The Dalziel Hatfield Galleries of Los Angeles, California, served as his primary agent for most of his painting career. Correspondence between Sheets and the Hatfields provide insight into Sheets's development into a regionally and nationally significant watercolorist and painter. The files relating to the Kennedy Galleries in New York and the Circle Gallery in Chicago reflect Sheets's efforts to maintain a national presence in the arts community.

The Jury Files document Sheets's involvement as a juror in regional, as well, as national shows. The files reveal the great variety of professional watercolor and painting exhibitions in which Sheets participated as either a jury panelist or solo judge.

The Writings Files provide an excellent source for researchers interested in Sheets's philosophical beliefs about the relationship between art and everyday life. His articles, lectures, and speeches predominantly address the role of the artist, the relationships that exist between artists and the community, and the role that art can play in making a fuller, more productive life. Also found in the files of this series are articles written by others about Sheets.

The Biographical Material series provides a short introduction to Millard Sheets. The files consist of the calendars maintained by Sheets and his wife and staff, which were used to coordinate his many commitments and appointments. Also found in the files of this series are family chronologies that were created by Mary Baskerville Sheets. Medical records and resumes provide personal information about Sheets's background and health. A small file of military memorabilia provides information about Sheets's contributions to the war effort in World War II.

The Printed Matter series documents family activities and personalities through publicity clippings. Also found are exhibition catalogs and announcements that Sheets saved regarding other artists. Miscellaneous interests and activities of Sheets are found through magazine articles, brochures, and flyers.

The Photographs series includes photographic documentation for Sheets's artwork, horses, and major projects. A small group of photographs of Sheets are also in this series.

The files in the Artwork series include original drawings by Mary Baskerville Sheets and Millard Sheets.

There is a 4.6 linear foot unprocessed addition to this collection donated 2018 that includes writings; sketchbooks and sketches; photographs and negatives of works of art, images of Millard Sheets and others including family; printed material, including two scrapbooks; and scattered correspondence regarding Sheet's projects.

Arrangement:

The collection is arranged into fifteen series. Small series, such as Biographical Material are generally based on type of document. Larger series, such as Correspondence or Project Files, are arranged alphabetically by name of correspondent or project. General correspondence has been made into its own series, but other series or subseries may also contain some correspondence. Within particular series, materials have been further divided into subseries which represent particular aspects of the project or event. For example, the Writings Series is further divided into subseries of books and articles, eulogies, and lectures and speeches. An outline listing series and subseries titles and dates follows.

Missing Title

Series 1: Biographical Material, 1907-1982, undated (boxes 1-2; 1.25 linear ft.)

Series 2: Correspondence, 1929-1990, undated (boxes 2-4; 2.75 linear ft.)

Series 3: Personal Business Records, 1933-1980, undated (boxes 5-6; 1.25 linear ft.)

Series 4: Membership Files, 1946-1982, undated (boxes 6-8; 2.5 linear ft.)

Series 5: Millard Sheets & Associates Designs, 1934-1982, undated (boxes 8-9; 1.0 linear ft.)

Series 6: Project Files, 1956-1981, undated (boxes 9-18; 8.25 linear ft.)

Series 7: Teaching and Workshop Files, 1932-1982 (box 18; 0.5 linear ft.)

Series 8: Painting Trips, 1959-1980, undated (box 18; 16 folders)

Series 9: Exhibition Files, 1932-1937, 1951-1988, undated (box 19; 0.75 linear ft.)

Series 10: Jury Files, 1941-1982 (boxes 19-20; 42 folders)

Series 11: Writings, 1936-1988, undated (boxes 20-22; 2.5 linear ft.)

Series 12: Printed Matter, 1936-1922, undated (boxes 22-23; 20 folders)

Series 13: Photographs, 1934-1983, undated (box 23; 17 folders)

Series 14: Artwork, circa 1929, undated (box 23; 2 folders)

Series 15: Unprocessed Addition, circa 1930-2000 (boxes 24, 26-30, OV25: 4.6 linear ft.)

Biographical Note:

"Your painting is a measure of your mind"-Millard Sheets

Millard Sheets, as one of the founding members of the "California Scene Painters," exerted a lasting influence upon subsequent generations of Western painters. He and the small group of painters who worked in California during the 1930s and 1940s, developed a new style of watercolor painting that was at the forefront of the American watercolor movement of the time, and that later gave rise to a subsequent generation of painters who became known as the California Regionalist school.

Sheets was born in Pomona, California on June 24, 1907. His mother died in childbirth, and his father, John Sheets, unprepared to raise a baby alone, sent Millard to Pomona, California to be raised by his maternal grandparents, Lewis and Emma Owen. Sheets's grandfather proved to be a guiding force in his life, and when Sheets's father remarried and offered Millard the opportunity to return to the Sheets household, Millard chose instead to remain with his grandparents.

Sheets's love of horses can be directly traced back to his childhood years spent living at his grandfather's horse ranch. Millard rode his first horse when he was three years old. Throughout his life, Sheets returned to the theme of horses in his paintings, as well as maintaining a private stable of horses, and raising and breeding racehorses.

His interest in art also began in childhood. When he was still a young boy, his two maternal aunts encouraged him to play with crayons and pencils. Sheets took his first painting lesson from a neighbor at the age of seven, and by 1919 he had already submitted artwork to the copy division of the Los Angeles County Fair fine arts show competition. He submitted a drawing he had copied of a tinted photograph of Lake KIlarney, California. Sheets won first prize in his division.

It was through this competition that Millard met Theodore B. Modra, a Polish artist who had retired to the Pomona area. After giving Sheets a lecture on the evils of copying art, Modra offered to give him art lessons.

Sheets continued to pursue his interest in art and enrolled in the Choinard School of Art in Los Angeles, California. By the time that he graduated in 1929, Sheets had also managed to come to the attention of Dalzell and Ruth Hatfield of the Dalzell Hatfield Galleries in Los Angeles, California. The Hatfields were one of the most influential art dealers in Southern California, and that same year, they sponsored Sheets in his first one-man exhibition in 1929. The exhibition brought Sheets to the attention of Western Coast art critics and launched Sheets on his painting career.

In 1929 Sheets also learned that he had won second place in the annual Edgar B. Davis art competition held in San Antonio, Texas. The award came with a cash prize and Sheets made plans to travel to Europe to study and paint. Shortly before his departure, however, he met an art student, Mary Baskerville, and they began a whirlwind romance. With Baskerville's enthusiastic support for European plans, and with her promise that she would wait for him, Sheets departed for New York and then Europe.

While overseas during 1929 and 1930, Sheets studied under Dorfinant, a master printer in Paris. Through his work at this studio workshop, he met Henri Matisse.

Five months after Millard returned to the California in 1930, Sheets and Mary Baskerville married. Sheets worked as the director of the Fine Arts Exhibition of the Los Angeles County Fair. In 1932 Sheets returned to school to study art and humanities at Scripps College in Claremont, California. After graduating from Scripps, school officials approached Sheets with an offer to set up a separate fine arts program and asked him to chair the new department. This was the beginning of a twenty year association with the school. In 1938, he also became the Director of Art at Claremont Graduate School.

Sheets left the school during the years of World War II to serve as a war-time artist and journalist for Life magazine, and from 1943-1944 was stationed on the Burma-India Front. His experiences in Asia appeared to affect him deeply. In contrast to his earlier works which featured backgrounds with neutral tones and brilliant shades that highlighted and punctuated the compositions, the paintings from the wartime featured somber tones. Sheets remarked of this time:

During the fighting and the time I spent in the C-B-1 theater, I was too shaken and intellectually stunned to do any complete paintings. I made many, many sketches, though, as well as a real effort to remember each scene that particularly affected me. Then, once I returned to America, I painted frantically, for months, exorcising demons. [Lovoos, Janice and Edmund F. Penney, Millard Sheets: One-Man Renaissance, Northland Press, Flagstaff, AZ, 1984]

Sheets returned from the war in 1944 and resumed his position at Scripps College until 1955 when he was approached by the Los Angeles County Board of Supervisors and asked to overhaul the fledgling Los Angeles County Art Institute. Sheets accepted the position and spent the next five years reshaping the mission and format of the school, renaming it the Otis Art Institute. In the years after Sheets left the directorship, the school eventually became part of the Parson's School of Design on the West Coast.

In 1953 Sheets founded the Millard Sheets Designs company. He hired between twenty-five and thirty artisans for large projects, with Susan Hertel, a former student of his, serving as his assistant in all the operations of the design studio. The working staff included engineers, registered architects, draftsmen, and artists, and the projects that the firm produced included murals, mosaics, stained glass, and sculpture for private homes and public and commercial businesses.

The design studio completed several major architectural projects throughout the late 1950s through the mid 1970s, including the design and construction of Cal Aero, a flight training school for the US Air Force, the National American Insurance Company offices for the California financier, Howard Ahmanson, Ahmanson Bank and Trust Company in Beverly Hills, many Home Savings and Loan Association Buildings, private residences, and the Scottish Rite Memorial Temples in Los Angeles and San Francisco, among many other projects.

Sheets also designed and completed mural and mosiac work for numerous public buildings in the Los Angeles area, as well as across the nation. Many of the murals and mosiacs were for those buildings designed by his firm while others were done as independent commissions.

In 1968 Sheets first proposed the murals he designed for the Los Angeles City Hall. His design was approved and he was awarded a commission to complete The Family of Man murals over the two main entrances to the Los Angeles City Hall. The murals were completed in 1971 and installed in 1972. Sheets also designed mosiacs and murals for the Mayo Clinic in Minnesota, the Library at Notre Dame University, the Scottish Rite Masonic Temple in Los Angeles, several Home Savings and Loan Association buildings in the Los Angeles area, the Detroit Public Library, and the Dome of the National Shrine of the Immaculate Conception in Washington, DC.

During the early 1960s Sheets participated in the American Specialist Program of the US Department of State. His first assignment was to Turkey in 1960, where he served as a visiting artist. The following year he went to the USSR in the same capacity.

During the early to mid 1950s Sheets became involved with Columbia Pictures and was technical advisor and production designer for a few years.

Millard Sheets was a member of the National Watercolor Society, the American Watercolor Society, the National Academy of Design, the Society of Motion Picture Art Directors, and the Century Association. Sheets actively promoted his own work and was a businessman, an active and prolific artist, instructor, and designer. Millard Sheets died on March 31, 1989 in Gualala, California.

Separated Materials:

The Archives of American Art also holds material lent for microfilming (reels LA 10) including a biographical sketch, career resume, and a list of sheets' work prepared in 1964. Loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Millard Sheets lent material for microfilming in 1965. Mary B. Sheets, Millard's widow, donated the papers to the Archives of American Art in 1992. Carolyn Owen-Toole, Sheet's daughter, gave a small addition of material in 2018.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art -- Study and teaching  Search this

Art -- California  Search this

Art and society  Search this

Horses -- Breeding  Search this

Watercolorists -- California  Search this

Muralists -- California  Search this

Art -- Philosophy  Search this

Designers -- California  Search this

Genre/Form:

Slides (photographs)

Photographs

Citation:

Millard Sheets papers, circa 1907-2000. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.sheemill

See more items in:

Millard Sheets papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978141c20-c1e5-41ff-aa5d-6603f62f526f

EDAN-URL:

ead_collection:sova-aaa-sheemill

Creator:

Cherney, Marvin, 1925-1967  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Date:

1928-1979

Scope and Contents:

The Marvin Cherney papers measure 2.1 linear feet and date from 1928-1979. Incuded is correspondence, photographs, writings, works of art, printed material and two scrapbooks. Correspondence is with family, museums, art organizations, and the Eisendrath Synagogue. There are also 50 letters of condolence to Anna Cherney, Marvin Cherney's widow, regarding his death. Photographs are of Cherney, his family and friends, models, paintings, studio, and a 1956 exhibition opening at Bernhardt Crystal Gallery. Also included are color transparencies, negatives, 38 slides of works of art as well as 66 black and white photographs of paintings by Cherney, each identified with title, date, media, dimensions, and Kennedy Galleries, Inc. stock numbers, and notes by Cherney about his work. Works of art consist of 5 drawings by Cherney, ca. 1952. Printed material includes clippings, exhibition catalogs and announcements. There is one scrapbook containing childhood memorabilia and one scrapbook (portions unbound), compiled by Anna Cherney, containing letters from galleries and institutions, newspaper clippings of reviews of Cherney's exhibitions, exhibition announcements and invitations.

Biographical / Historical:

Marvin Cherney (1925-1967) was a painter in New York, N.Y.

Provenance:

Donated 1979 and 2007 by Anna Cherney, Cherney's widow. Additional scrapbook pages were donated in 2021 by collector, Elaine Penske.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New York (State) -- New York  Search this

Genre/Form:

Drawings

Scrapbooks

Identifier:

AAA.chermarv

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92b5c3720-9905-41ba-953e-6b0a6a24e3ed

EDAN-URL:

ead_collection:sova-aaa-chermarv

Artist:

James Peale, 1749 - 24 May 1831  Search this

Copy after:

Charles Willson Peale, 15 Apr 1741 - 22 Feb 1827  Search this

Sitter:

Horatio Gates, 1727 - 1806  Search this

Medium:

Oil on canvas

Dimensions:

Stretcher: 58.4 x 48.3 x 2.5cm (23 x 19 x 1")

Frame: 77.5 x 67.3 x 5.1cm (30 1/2 x 26 1/2 x 2")

Type:

Painting

Date:

c. 1782

Topic:

Costume\Dress Accessory\Epaulet  Search this

Horatio Gates: Male  Search this

Horatio Gates: Politics and Government\State Legislator\New York  Search this

Horatio Gates: Military and Intelligence\Army\Officer\Revolutionary War Army officer  Search this

Horatio Gates: Congressional Gold Medal  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; partial gift of Mr. Lawrence A. Fleischman

Object number:

NPG.69.50

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 142

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42d6a14da-d717-4aee-9c95-9a1f50306203

EDAN-URL:

edanmdm:npg_NPG.69.50

Artist:

Thomas Badger, 1792 - 1868  Search this

Sitter:

Thomas Paul, 1773 - 13 Apr 1831  Search this

Medium:

Oil on wood panel

Dimensions:

Panel: 20.3 x 16.5cm (8 x 6 1/2")

Frame: 33.3 x 29.2 x 6.4cm (13 1/8 x 11 1/2 x 2 1/2")

Type:

Painting

Date:

c. 1825

Topic:

Interior\Church  Search this

Printed Material\Book\Bible  Search this

Architecture\Building\Church\Pulpit  Search this

Thomas Paul: Male  Search this

Thomas Paul: Religion and Spirituality\Clergy\Pastor  Search this

Thomas Paul: Religion and Spirituality\Founder\Church founder  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.70.45

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 132

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm42dfb45f3-e345-4db2-9978-cc27352c228c

EDAN-URL:

edanmdm:npg_NPG.70.45

Artist:

William Smith Jewett, 6 Aug 1812 - 3 Dec 1873  Search this

Sitter:

John Charles Frémont, 21 Jan 1813 - 13 Jul 1890  Search this

Medium:

Oil on canvas

Dimensions:

37.8 x 28cm (14 7/8 x 11")

Frame: 47.6 x 38.4 x 5.1cm (18 3/4 x 15 1/8 x 2")

Type:

Painting

Topic:

Costume\Headgear\Hat  Search this

Exterior\Landscape  Search this

Personal Attribute\Facial Hair\Mustache  Search this

Costume\Jewelry\Chain  Search this

Personal Attribute\Facial Hair\Beard  Search this

Costume\Dress Accessory\Sash  Search this

Nature & Environment\Mountain  Search this

John Charles Frémont: Male  Search this

John Charles Frémont: Politics and Government\Presidential candidate  Search this

John Charles Frémont: Natural Resource Occupations\Explorer  Search this

John Charles Frémont: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer  Search this

John Charles Frémont: Politics and Government\US Senator\California  Search this

John Charles Frémont: Politics and Government\Governor\California  Search this

John Charles Frémont: Military and Intelligence\Army\Officer\Major General  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution

Object number:

NPG.72.17

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Exhibition:

Out of Many: Portraits from 1600 to 1900

On View:

NPG, East Gallery 122

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm47d031264-1875-4319-8c73-37121481fe2e

EDAN-URL:

edanmdm:npg_NPG.72.17