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Fifty Famous American Paintings

Collection Creator:
Kent, Rockwell, 1882-1971  Search this
Container:
Reel 5181, Frame 1442-1470
Type:
Archival materials
Date:
1940
Scope and Contents note:
(lists of best contemporary American artists, and questionnaire developed by Kent and Carl Zigrosser for Living American Art, Inc.; plan for mail order marketing of reproductions; see also: Living American Art, Inc.)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
See more items in:
Rockwell Kent papers
Rockwell Kent papers / Series 1: Alphabetical Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-kentrock-ref1379

Living American Art, Inc. (Chas. Boni)

Collection Creator:
Kent, Rockwell, 1882-1971  Search this
Container:
Reel 5209, Frame 53-65
Type:
Archival materials
Date:
1937
Scope and Contents note:
(correspondence about marketing art reproductions; contract; see also: Fifty Famous American Paintings; and Silk Screen Group)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
See more items in:
Rockwell Kent papers
Rockwell Kent papers / Series 1: Alphabetical Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-kentrock-ref2332

Silk Screen Group

Collection Creator:
Kent, Rockwell, 1882-1971  Search this
Container:
Reel 5232, Frame 904-1034
Type:
Archival materials
Date:
1941-1942, 1945
Scope and Contents note:
(correspondence and contract with Living American Art concerning production of silkscreen prints as a commercial venture, including discussion of the advisability of using the term "silkscreen paintings" with prepared statement in opposition; see also: Living American Art, Inc.)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
See more items in:
Rockwell Kent papers
Rockwell Kent papers / Series 1: Alphabetical Files
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-kentrock-ref3503

Correspondence

Collection Creator:
Marsh, Reginald, 1898-1954  Search this
Extent:
(boxes 1-2, OV 12; 1.2 linear feet)
Type:
Archival materials
Date:
1920-1954
Scope and Contents note:
Series consists of Marsh's personal and professional correspondence. Among the correspondents are vaudeville performers and producers, artists, museums, galleries, publishers, greeting card companies, government officials, admirers, and former students, as well as family and friends. Correspondence largely concerns Marsh's career as a painter and illustrator, and his relationships with family, friends, and colleagues.

Correspondence documents his work as a vaudeville reviewer for the New York Daily News from 1922 to 1925; the sale and exhibition of his art work; the publication of his illustrations and caricatures in various magazines; his book illustrations; and the reproduction of his art work on greeting cards produced by American Artists Group and Living American Art, Inc. There are also extensive files (which also contain scattered business, financial, and travel documents) relating to his work on two federal art projects, murals in the Post Office Department, Washington, D.C. (1935) and the Customs House in New York (1937), and his assignment as an artist correspondent in Brazil during the Second World War (1943). Similar materials are also found amongst the business and financial papers in Series 7.

Correspondence documents his relationships with his father, Fred Dana Marsh, his first wife, Betty Burroughs, and his second wife, Felicia Meyer Marsh, as well as his relationships with friends and colleagues, including the English writer, Llewelyn Powys, the artists, Yasuo and Katherine Kuniyoshi, and the U.S. Senator (and former Yale classmate), William Benton, who ended up being one of the largest collectors of Marsh's work.

Letters from artists, such as Edward Laning, and curators, such as Lloyd Goodrich, provide some sense of Marsh's methods and techniques for creating art work (especially his use of the "Maroger medium") and his views on art and current art movements (especially Abstract Expressionism). Correspondence pertaining to the award competition for the U.S. Building at the New York World's Fair, which includes versions of Marsh's letters to and letters from Edward Bruce of the Treasury Department Section of Painting and Sculpture, is especially suggestive of Marsh's strong feelings of "despair" over the lack of originality in contemporary art.

General correspondence is typically arranged in chronological files, interspersed with files named according to correspondent. Letters are typically to Marsh, unless otherwise noted. Project correspondence is arranged according to the name of the project on which Marsh worked or to which correspondence pertains. Envelopes, which had at some earlier point been separated from correspondence, and greeting cards are arranged in files at the end of the series. An appendix of significant correspondent's names from the chronological files is included in this finding aid.

See Appendix for a list of selected correspondents from Series 2.
Appendix: Selected Correspondents from Series 2:
This list represents only a selection of correspondents and does not include names of family.

General CorrespondenceAmerican Artists Group, Inc.: 1935, 1936, 1937, 1938, 1941, 1942

Archer, Edmund: 1944, 1949

Arms, John Taylor: 1945, 1948, 1951

Art Institute of Chicago (School): 1945

Arts Bureau of Gartner and Bender, Inc.: 1947

Associated American Artists, Inc.: 1940

Barrymore, Lionel: 1949

Bartlett, Clay: 1948, 1949, 1950, 1951, 1952, undated

Baum, Richard F.: 1953, 1954

Bishop, Isabel: 1942, 1950, undated

Book-of-the-Month Club: 1945, 1946

Bork, Jacob: 1936

Burroughs, Alan: 1930, 1953

Carnegie Institute: 1947

Coates, Robert M.: 1921, 1922, 1954, undated

Corcoran Gallery of Art: 1945, 1954

Cornelius, Marty: 1948, 1949, 1950, 1952

Coutts, Jeane: 1946, 1948, 1949, 1950, 1951

Dreiser, Theodore: 1939

Eakins, Susan: 1928, 1929

Genauer, Emily: 1952

Goodrich, Lloyd: 1927, 1940, 1951, undated

Gregory, Alyse: 1936, 1938, 1940, 1945, 1947, 1952, 1953

Hallmark Cards (Hall Brothers Inc.): 1950, 1951

Harper's Magazine: 1953

Hartmann, Sadakichi: 1939

Hopkins, Peter: 1951

Houghton Miflin Company: 1946, 1947, 1948, 1949, 1950, 1954

Huntley, Victoria Hutson: 1948

Kelly, Augustus: 1942, 1943, 1944

Kinsey, Alfred C.: 1950

Kuniyoshi, Katherine (Schmidt): 1922, 1926, 1927, 1928, 1929, 1930, 1932, 1933, undated

Kuniyoshi, Yasuo: 1922, 1928, 1929, 1930, 1931, undated

Laning, Edward: 1943, 1948, 1949, 1950, 1951, 1952

Larkin, Oliver: 1951

Life -- Magazine: 1943

Limited Editions Club: 1953, 1954

Living American Art, Inc.: 1936, 1937, 1938, 1940, 1941

Mandel, Estelle: 1951

Maroger, Jacques: 1942, 1943, 1944, 1945, 1948, 1950, 1951, 1952, 1953, undated

Merton, Owen: 1927, 1928

Merton, Thomas: 1932, undated

Metropolitan Museum of Art: 1951, 1954

Museum of the City of New York: 1953, 1954

Museum of Fine Arts, Boston, Massachusetts: 1942

Miller, Kenneth Hayes: 1929, 1933, 1943

National Academy of Design: 1944

National Institute of Arts and Letters: 1954

New York Times: 1942

Nordmark, Olle: 1939

Overton, Richard C.: 1951, 1952, 1954

Pantheon Books Inc.: 1951, 1954

Pennsylvania Academy of Fine Arts: 1941

Philadelphia Museum of Art: 1944

Pierpont Morgan Library: 1951

Powys, Llewelyn: 1927, 1929, 1930, 1931, 1932, 1933, 1934, 1936, 1937, 1938, 1939, undated

Pratt Institute: 1949

Redelius, Frank: 1952, 1953

Rehn Galleries (Frank K. M. Rehn, Inc.): 1948

Rose, Billy: 1950

Rothschild, Lincoln: 1950

Royal Society of Arts, London: 1947

Soyer, Raphael: 1951

Treasury Department, Washington: 1944, 1952

University of Rochester, College of Arts and Sciences: 1940

Weyhe Gallery (E. Weyhe): 1943

Whitney Museum of American Art: 1944, 1953, 1954

Wilder, Thornton: 1923

Worcester Art Museum: 1951

Wyeth, Andrew: 1952, 1953

Project CorrespondenceBiddle, George: 1935, 1943

Bruce, Edward: 1938

Dows, Olin: 1935, 1936

Jones, Cecil H.: 1936, 1937, 1938

Nordmark, Olle: 1935, 1936, 1937, 1941, 1942

Owen, William B.: 1936

Rowan, Edward B.: 1935, 1936

Sharkey, Alice M.: 1936

Watson, Forbes: 1936, 1937
Collection Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Reginald Marsh papers, 1897-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsregi, Series 2
See more items in:
Reginald Marsh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-marsregi-ref35

Living American Art, Inc.

Collection Creator:
Macbeth Gallery  Search this
Container:
Box 53, Folder 7
Type:
Archival materials
Date:
1937-1940
Collection 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.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
See more items in:
Macbeth Gallery records
Macbeth Gallery records / Series 1: Correspondence Files / 1.1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-macbgall-ref9072

Reginald Marsh papers

Creator:
Marsh, Reginald, 1898-1954  Search this
Names:
Benton, William, 1900-1973  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Fred Dana, 1872-1961  Search this
Powys, Llewelyn, 1884-1939  Search this
Schmidt, Katherine, 1898-1978  Search this
Woodhouse, Betty Burroughs, 1899-1988  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Date:
1897-1955
Summary:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Scope and Content Note:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.

Marsh's correspondence is typically with family, friends, artists, colleagues, dealers, government officials, publishers, greeting card companies, admirers and former students. Correspondence concerns both personal and professional matters, documenting his relationships with family and friends and his work on various projects ranging from book illustrations to the murals he executed as part of the Treasury Department Art Program. Diaries include those Marsh kept as an adolescent, those in which he recorded his technique and work on art, and those in which he recorded his daily engagements. Notebooks include ones on art, in which he recorded notes on particular works and on painting techniques, mediums and other processes; ones used as address books and to record notes on travel and art work; and ones on finances, in which he kept track of earnings from his stocks and art, as well as some student notebooks. Diaries and notebooks both document various practical aspects involved in the creation of Marsh's art work.

Sketches include ones on loose sheets and scraps of paper and in sketchbooks, documenting some of the sources and recurrent themes of Marsh's art work, as well as shedding light on Marsh's process of creation. Scrapbooks consist primarily of clippings (illustrations, reviews, reproductions of art work) compiled by Marsh, documenting the publication, exhibition, and reception of his art work. Business and financial papers consist of paperwork (contracts, agreements, statements, receipts, permissions) relating to business matters, practical concerns, and financial aspects involved in handling his various art projects and in exhibiting and selling his art work. Photographs include ones of Marsh's family and friends, the artist at work (sketching around Coney Island and on the streets of New York), and his art work (some of which was compiled into volumes by Marsh and some of which was compiled by Norman Sasowsky).

Also found are limited amounts of biographical material, including juvenilia, official documents, awards and certificates, writings, an appraisal of Marsh's estate, and catalogs of Marsh's art work, and printed material, including exhibition catalogs, clippings, and publications.
Arrangement:
The Reginald Marsh papers are arranged as 9 series:

Series 1: Biographical Material, 1910s-1955 (boxes 1, 11; 0.8 linear feet)

Series 2: Correspondence, 1920-1954 (boxes 1-2, OV 12; 1.2 linear feet)

Series 3: Diaries, 1912-1954 (box 3; 1 linear foot)

Series 4: Notebooks, 1919-1954 (box 4; 0.8 linear feet)

Series 5: Sketches, 1901-1954, undated (boxes 4-5, OV 12-21; 1.4 linear feet)

Series 6: Scrapbooks, 1901-1954, undated (boxes 6, 9-11; 1.5 linear feet)

Series 7: Business and Financial Papers, 1923-1954 (box 6; 0.3 linear feet)

Series 8: Photographs, circa 1897-1908, 1920-1952 (boxes 6-8, 10; 1.3 linear feet)

Series 9: Printed Material, 1931-1955 (boxes 8, 10; 0.2 linear feet)
Biographical Note:
Reginald Marsh was born in Paris on March 14, 1898. His father, Fred Dana Marsh, was a well-known muralist, and his mother, Alice Randall Marsh, was also an artist who painted miniature watercolors. Marsh returned with his family to the United States in 1900 and grew up in Nutley, New Jersey.

After graduating from Yale University in 1920, Marsh moved to New York, where he worked as an illustrator for the New York Evening Post and Herald, Vanity Fair and Harper's Bazaar. Beginning in 1922, he worked as staff artist at the New York Daily News doing a cartoon review of vaudeville and burlesque. During the 1920s, he designed theater curtains for the Greenwich Village Follies and other theater productions, and became one of the original cartoonists at The New Yorker after it was founded in 1925, actively working for the magazine until 1931 and regularly contributing drawings from time to time after that.

In 1923, Marsh married Betty Burroughs, who was the daughter of the curator of painting at the Metropolitan Museum of Art and herself a sculptor. They divorced in 1933, and he married his second wife, Felicia Meyer, a landscape painter, in 1934.

In the early 1920s, Marsh began to study painting and attended classes taught by John Sloan and Kenneth Hayes Miller, among others, at the Art Students League in New York. He made several trips to Europe, once in 1925-1926 and again in 1928, to study the old masters in the museums. In 1929, he began to paint in egg tempera. He also worked in watercolor, painting several large compositions in 1939-1940. In the 1940s, he studied the "Maroger medium" with Jacques Maroger and began to use this emulsion technique in his paintings. In addition to painting, he also worked in lithography, etching, and engraving.

Marsh had his first one-man show of oils and watercolors at the Whitney Studio Club in 1924 and another show of lithographs there in 1928. He had one-man shows of his watercolors at the Valentine Dudensing Galleries in 1927, the Weyhe Gallery in 1928, and the Marie Sterner Galleries in 1929. In 1930, he had his first show of paintings at the Rehn Galleries, where he regularly exhibited for the next two decades.

In 1935 and 1937 respectively, Marsh was commissioned by the Treasury Department Art Program to paint two murals in the Post Office Department Building in Washington, D.C. and a series of murals in the rotunda of the Customs House in New York. Beginning in 1935, Marsh taught drawing and painting at the Art Students League. In the summer of 1946, he was guest instructor at Mills College, Oakland, California, for six weeks. In 1949, he was appointed head of the Department of Paintings at Moore Institute of Art, Science, and Industry, Philadelphia and taught advanced painting there in 1953-1954.

Beginning in the mid-1930s, some of Marsh's art work began to be reproduced on greeting cards issued by the American Artists Group and Living American Art, Inc. He also did illustrations for editions of Theodore Dreiser's Sister Carrie (1938), John Dos Passos's USA (1945) and Adventures of a Young Man (1946), and Mark Twain's The Prince and the Pauper (1946), among others. He continued to do freelance illustrations for magazines, including Esquire, Fortune, and Life. Notably, he served as an artist correspondent for Life during the Second World War, and traveled to Brazil in 1943 to draw the army installations there.

Marsh was the recipient of various awards throughout his career, including the M. V. Kohnstamm Prize from the Art Institute of Chicago in 1931, the First W. A. Clark Prize and Corcoran Gold Medal from the Corcoran Gallery of Art, Washington, D.C., in 1945, and the Gold Medal for Graphic Arts of the National Institute of Arts and Letters in 1954.

Marsh died of a heart attack in Dorset, Vermont on July 3, 1954.

This biographical note draws heavily from information originally printed in the catalogue of the Reginald Marsh Retrospective Exhibition organized by the Whitney Museum in 1955.
Related Material:
The Archives holds several collections of different provenance that relate to Reginald Marsh, including Felicia Meyer Marsh and Meyer Family Papers (available on reels 2082, 2087-2090, and 4474-4475), Fred Dana Marsh illustrated letters (available on reel 3134), Norman Sasowsky Research Material on Reginald Marsh (partially available on reels 1195 and 1463-1464), and Reginald Marsh Printed Material, consisting of two yearbooks from Lawrenceville School donated by Alvin Macauley who was a classmate of Marsh (not available on microfilm). In addition, a portion of the materials loaned and microfilmed in 1963 on reel NRM 19, including several small paintings, are housed in the Pierpont Morgan Library.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Some of the material loaned for microfilming in 1963, including the bulk of Marsh's sketchbooks and some anatomy sketches, was subsequently donated to the Metropolitan Museum of Art, New York Public Library, and Whitney Museum of American Art. Other loaned material, including several small paintings, was from the Pierpont Morgan Library. Most of the files of clippings that were donated to AAA with Marsh's papers were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library in 1979. Even though this material is not technically part of the collection housed in AAA, copies are available on microfilm reels NRM3-NRM17 (sketchbooks and sketches), NRM 19 (material from the Pierpont Morgan Library), NRM 20 (small paintings), and 2233-2234 (clippings). A portion of the material donated to AAA with the Reginald Marsh papers has been separated to create a new collection of Felicia Meyer Marsh and Marsh Family papers. Loaned and transferred material is not described in this finding aid.
Provenance:
A large portion of the Reginald Marsh papers, including diaries, notebooks, sketchbooks, and photograph albums, was lent for microfilming in 1963 by Marsh's wife, Felicia Meyer Marsh. Some, but not all, of this material was subsequently donated to AAA in 1979, after the death of Mrs. Marsh, along with some additional material, including notebooks, scrapbooks, biographical and printed material. Another portion of the collection, comprised mainly of correspondence and a catalog of Marsh's art work, was donated in 1964. Three items of Marsh juvenilia were donated in 1984 by Alice Heffernan. Sketches that Mrs. Marsh bequeathed to the Whitney Museum were donated to AAA by the museum in 1987, along with 5 sketchbooks previously lent. Later gift portions were microfilmed.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Etchers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Painting, American  Search this
Painting -- Technique  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Reginald Marsh papers, 1897-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsregi
See more items in:
Reginald Marsh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marsregi
Online Media:

Things you should know about Living American Art : a handbook of facts for editors and critics

Creator:
Living American Art, Inc.  Search this
Names:
Boni, Charles  Search this
Extent:
19 Pages ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
1937
Scope and Contents:
The manual describes the function of Living American Art, Inc., and gives information regarding the process by which paintings are chosen for printing and commercial purposes, the jury members, the artists and their rights to royalties, etc.
Biographical / Historical:
Living American Art, Inc. was founded by Charles Boni for the purpose of disseminating reproductions of American art works to the general public. Boni devised a mail order brochure of the prints and set up approximately 250 exhibitions of the prints at colleges, universities, and museums around the country for publicity. Also published was a periodical which carried brief biographies of artists whose works were chosen for reproduction, thus attempting to generally educate the "average" American in issues and history of American art.
Provenance:
Donated 1978, provenance unknown.
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.
Topic:
Copy art  Search this
Art -- Reproduction  Search this
Art publishing  Search this
Identifier:
AAA.liviamer
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-liviamer

Things you should know about Living American Art : a handbook of facts for editors and critics, 1937

Creator:
Living American Art, Inc  Search this
Subject:
Boni, Charles  Search this
Topic:
Copy art  Search this
Art -- Reproduction  Search this
Art publishing  Search this
Record number:
(DSI-AAA_CollID)7897
(DSI-AAA_SIRISBib)210064
AAA_collcode_liviamer
Theme:
Ephemera, Miscellany, and General Art Related
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210064

Summer [photomechanical print]

Artist:
Weber, Max 1881-1961  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Allegory--Season--Summer  Search this
Landscape--Mountain  Search this
Figure group--Female--Nude  Search this
Architecture exterior--Domestic--House  Search this
Image number:
LOC LC002292
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142497

Breightening Seine [photomechanical print]

Artist:
Whorf, John 1903-1959  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Waterscape  Search this
Architecture--Boat--Rowboat  Search this
Figure group--Male  Search this
Occupation--Industry--Fishing  Search this
Object--Tool--Fishing Net  Search this
Image number:
LOC LC002336
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142574

Winter by the Sea [photomechanical print]

Artist:
Whorf, John 1903-1959  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Landscape--Season--Winter  Search this
Landscape--Road  Search this
Landscape--Tree  Search this
Landscape--Coast  Search this
Architecture exterior--Domestic--House  Search this
Image number:
LOC LC002337
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142575

Moonlit Cove [photomechanical print]

Artist:
Ryder, Albert Pinkham 1847-1917  Search this
Photographic firm:
Living American Art, Inc.  Search this
Arthur Jaffe, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Topic:
Waterscape--Time--Night  Search this
Waterscape--Celestial--Moon  Search this
Waterscape--Inlet--Cove  Search this
Image number:
LOC LC001813
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_140708

Hell-Gate Bridge [photomechanical print]

Artist:
Smith, Wallace Herndon 1901-1990  Search this
Photographic firm:
Living American Art, Inc.  Search this
Arthur Jaffe, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Cityscape--New York--New York City  Search this
Cityscape--River--East River  Search this
Architecture--Bridge--Hell-Gate Bridge  Search this
Architecture--Boat  Search this
Figure group  Search this
Image number:
LOC LC001963
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_141891

Colts at Soda Springs [photomechanical print]

Artist:
Strater, Henry 1896-1987  Search this
Photographic firm:
Arthur Jaffe, Inc.  Search this
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1940
Topic:
Animal--Horse  Search this
Landscape--Farm  Search this
Architecture--Farm--Barn  Search this
Image number:
LOC LC001977
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_142120

The Dream Ride [photomechanical print]

Artist:
Glackens, William 1870-1938  Search this
Photographic firm.8:
Living American Art, Inc.  Search this
Photographic firm:
Arthur Jaffe, Inc.  Search this
Physical description:
1 photomechanical print : collotype color
Type:
Photomechanical prints
Date:
Copyrighted 1940
Topic:
State of Being--Phenomenon--Dream  Search this
Landscape--Imaginary  Search this
Fantasy--Animal  Search this
Figure female--Child--Full length  Search this
Equestrian  Search this
Animal--Horse  Search this
Animal--Dog  Search this
Image number:
LOC LC000888
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138525

A Corner of the Pasture [photomechanical print]

Artist:
Glannon, Edward 1911-1992  Search this
Photographic firm:
Living American Art, Inc.  Search this
Arthur Jaffe, Inc.  Search this
Physical description:
1 photomechanical print : collotype color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Landscape  Search this
Landscape--Tree  Search this
Animal--Horse  Search this
Image number:
LOC LC000889
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138526

The Bahamas [photomechanical print]

Artist:
Hart, George Overbury "Pop" 1868-1933  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1939, 1940
Topic:
Landscape--Bahamas  Search this
Figure group  Search this
Occupation--Industry--Fishing  Search this
Landscape--Coast  Search this
Image number:
LOC LC001055
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138906

Winter Nightfall in the City [photomechanical print]

Artist:
Hassam, Childe 1859-1935  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1940
Topic:
Cityscape--Season--Winter  Search this
Cityscape--Time--Night  Search this
Travel--Land--Cart  Search this
Animal--Horse  Search this
Image number:
LOC LC001066
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138917

Skating at Central Park [photomechanical print]

Artist:
Homer, Winslow 1836-1910  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1940
Topic:
Figure group  Search this
Landscape--Season--Winter  Search this
Landscape--Park--Central Park  Search this
Recreation--Sport & Play--Skating  Search this
Image number:
LOC LC001140
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138990

Sponge Fishing, Bahamas [photomechanical print]

Artist:
Homer, Winslow 1836-1910  Search this
Photographic firm:
Living American Art, Inc.  Search this
Physical description:
1 photomechanical print color
Type:
Photomechanical prints
Date:
Copyrighted 1940
Topic:
Figure group  Search this
Occupation--Industry--Fishing  Search this
Architecture--Boat--Fishing Boat  Search this
Waterscape  Search this
Image number:
LOC LC001141
See more items in:
Photograph Archives
Library of Congress Copyright Deposit Collection
Data Source:
Photograph Archives, Smithsonian American Art Museum
EDAN-URL:
edanmdm:siris_jul_138991

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