Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
Scope and Content Note:
The records of the American Federation of Arts (AFA) provide researchers with a complete set of documentation focusing on the founding and history of the organization from its inception through the 1960s. The collection measures 79.8 linear feet, and dates from 1895 through 1993, although the bulk of the material falls between 1909 and 1969. Valuable for its coverage of twentieth-century American art history, the collection also provides researchers with fairly comprehensive documentation of the many exhibitions and programs supported and implemented by the AFA to promote and study contemporary American art, both nationally and abroad.
The earliest documentation from 1895 to 1909 concerns the organization's history and founding and is located in Series 1: Board of Trustees. Also found in this series are meeting minutes, 1909-1963 and 1968. Interfiled with the board meeting minutes are minutes of the executive committee and other special and ad hoc committees, reports to the board, financial statements and reports, and lists of committee appointments and board membership. This series also contains the scattered correspondence and subject files of various officers. Although not a complete set of officers' files, Presidents' Frederick Allen. Whiting (1931-1936), Lawrence M.C. Smith (1948-1952), Thomas Brown Rudd (1952-1954), Daniel Longwell (1954-1956), James S. Schramm (1956-1958), and Roy R. Neuberger (1958-1961) are represented. Leila Mechlin served on AFA's board as secretary from its founding to 1929, and her files are a particularly rich resource for AFA's activities during its early years. Lawrence M.C. Smith's files documenting his years as board treasurer are also arranged in this series. Additional officers' correspondence is interspersed throughout the Alphabetical Files and other series.
General information about the scope of AFA's programs, affiliations, founding, functions, and proceedings are arranged in Series 2: Administrative Records. The first subseries, Alphabetical Files, houses a wide variety of subject files that contain memoranda, correspondence, printed materials, lists, reports, and other papers. These files document the AFA's general history and founding, organizational affiliations, buildings and moves, grants, federal and state government art programs, auctions and other fund-raising efforts, publicity and public relations, publications, and fiftieth anniversary celebration. The subject headings by which these files are arranged are, for the most part, the ones designated by the AFA. The second subseries, Staff Records, houses the scattered files of AFA's director, assistant director, registrar, and special state representative, Robert Luck.
During its most active period, the AFA sponsored or participated in several special programs and Series 3: Special Programs houses the files that document many of them. The first subseries consists of the files for the Artists in Residence program that was funded by the Ford Foundation. Awarded in 1963, the grant sponsored short-term teaching residencies for artists in museums throughout the United States. The host museums were encouraged to hold exhibitions of the artists' works. This subseries contains both the general files of the program, as well as individual files on the participating artists. During the late 1950s and early 1960s, the AFA and the Ford Foundation also sponsored additional programs for artists, including Grants in Aid, Purchase Awards, and the Retrospective Exhibitions Program. The files documenting these three programs are also arranged in Series 3, under the subseries Ford Foundation Program for Visual Artists. In the late 1950s, the AFA implemented the Museum Donor Program with benefactors and philanthropists Audrey Bruce Currier and Stephen Richard Currier. Through the administration of the AFA, the Curriers donated funds to selected institutions specifically for the purchase of contemporary American art. The Curriers preferred to remain anonymous throughout the program. Files documenting this program include correspondence, applications from the accepted institutions, rejections, a summary report, and clippings about the untimely deaths of Mr. and Mrs. Currier in 1967.
Also found in Series 3 are the files documenting AFAs working relationship with the first state arts council, the New York State Council on the Arts (NYSCA). In 1961, AFA and NYSCA implemented a traveling exhibition program in New York State. Found here are files for possible itineraries, proposals, publicity, loans, budgets, and the actual exhibition files. Additional AFA special programs documented in Series 3 include the Picture of the Month program of the mid-1950s and the Jean Tennyson Foundation Color Slide Lecture Program.
AFA Annual Convention files constitute Series 4. Beginning with the Third Annual Convention in 1912 and continuing through the 1963 Annual Convention, the files contain official proceedings, speeches, programs, clippings, correspondence, and press releases. Files are missing for 1913, 1915, 1918, 1922, 1923, 1925, 1926, 1931, 1936-1949, 1952, 1956, 1958, 1960, and 1962. There are also audio recordings in the form of reel-to-reel tapes for the 1951 Annual Convention.
Series 5: Exhibition Files forms the bulk of the collection at circa 62 linear feet and is arranged into twenty subseries. The first subseries, Exhibitions, General, houses primarily the records of the Board of Trustees Exhibition Committee and documents the AFA's earliest involvement with traveling exhibitions. These files contain reports, budgets, correspondence, memoranda, scattered exhibition catalogs, and photographs. They are primarily the files of the chair of the Exhibition Committee and include the files of Juliana R. Force, Eloise Spaeth, and Mrs. John Pope. Also found in this series is a subseries of Mrs. John Pope's records documenting circulating exhibitions from 1934 to 1955, arranged by state.
The remaining nineteen subseries of the Exhibition Files reflect either specific exhibition programs, many of which have unique numbers assigned by AFA to individual exhibitions, or other exhibition-related files, such rejected, canceled, and suggested exhibitions and miscellaneous installation photographs. The Annual Exhibitions files constitute the largest of the subseries and are numbered according to the system assigned by AFA, following a typical chronological order. Although the documentation for each exhibition varies widely by both type and amount, most of the files contain contracts and legal agreements, correspondence, memoranda, itinerary information, condition reports, publicity materials, catalogs, announcements, price lists, and other such information arranged into one or more files. The files were labeled "documentation files," "dispersal files," "report form files," "loan agreement files," and "publicity files" according to the filing system devised by AFA. Many of the files also house a significant amount of correspondence with museum officials, lenders, and artists.
Additional subseries document AFA's exhibition venues and partnerships with the Metropolitan Museum of Art, the Virginia Museum of Fine Arts, the New York State Council on the [UNK] Life magazine, and Addison Gallery. A complete list of all of the subseries, including specific exhibition programs, follows in the Series Outline.
The final three series of the collection are small: Printed Material, Miscellaneous Files, and Oversized Material. The printed material was donated much later to the Archives and dates from 1990 to 1993. Found here are scattered press releases, annual reports, and an exhibition program. Miscellaneous Files contain scattered records, 1926-1962, of the Architectural League of New York relating to national award programs. It is not clear why this small group of Architectural League records was found mixed with the AFA records but perhaps the collaboration between the two organizations on several special projects provides an explanation. Also found in Miscellaneous Files is a group of black and white lantern slides from a lecture series, "New Horizons in America." Oversized Material includes a portfolio, a work of art, and posters.
See Appendix for a list of artists exhibiting with the American Federation of Arts
Arrangement:
The collection is arranged into eight primary series based primarily on administrative units or program areas. Several of the series are further subdivided into subseries. While processing, it became clear that the two filing systems were redundant and overlapped in both subject area and type of material. Most of these files were subsequently merged into the now broader Alphabetical Files or into separate series. Oversized material may be found at the end of the collection arranged in a separate series.
In most cases, files related to one another by subseries or subject areas (in the case of the Alphabetical Files) or by individual name (in the case of officers and staff files) are arranged in chronological order. The entire subseries of Alphabetical Files in Series 2 is arranged by subject heading, as assigned by the AFA, or individual name. The Alphabetical Files originally formed two broad filing systems as established by the AFA: one for general correspondence arranged by subject; and one for director's and other staff correspondence, also arranged by subject.
Series 1: Board of Trustees, circa 1895-1968 (Boxes 1-3)
Series 2: Administrative Records, 1910-1966 (Boxes 4-8)
Series 3: Special Programs, 1950-1967 (Boxes 9-13)
Series 4: Annual Conventions, 1912-1963 (Boxes 14-16)
Series 5: Exhibition Files, 1934-1969 (Boxes 17-78)
Series 6: Printed Material, 1990-1993 (Box 78)
Series 7: Miscellaneous Files, 1926-1962, undated (Box 79)
Series 8: Oversized Materials, 1890, undated (Boxes 80-85)
Historical Note:
Founded in 1909 by Elihu Root, the American Federation of Arts (AFA) exists today as a national nonprofit museum service organization striving to unite American art institutions, collectors, artists, and museums. Elihu Root, then secretary of state in the administration of Theodore Roosevelt, spoke of his idea at the first meeting of the AFA held in New York at the National Academy of Arts. He envisioned an organization that would promote American art most often seen only by the elite in the major cities of the East and upper Midwest by sending "exhibitions of original works of art on tour through the hinterlands across the United States."
The American Academy in Rome, Corcoran Gallery of Art, Art Institute of Chicago, and Metropolitan Museum of Art were influential organizing member institutions. Individual members included such notables as William Merritt Chase, Charles L. Freer, Daniel C. French, Charles L. Hutchinson, Henry Cabot Lodge, J.P. Morgan, and Henry Walters. The founding of the AFA provided the American art world with a forum for communication and participation among artists, cultural institutions, patrons of the arts, and the public.
To accomplish its mission, the AFA established volunteer committees for membership, exhibitions, and publications. During its first year, the AFA began publishing Art and Progress (later changed to Magazine of Art) and the American Art Annual (now the American Art Directory). In 1909, the AFA also organized its first traveling exhibition, Paintings by Prominent American Artists, which was shown at museums in Fort Worth, New Orleans, Minneapolis, and New Ulm, Minnesota.
By the end of the first year, the headquarters of the organization moved to Washington, D.C., to facilitate lobbying the federal government for favorable art legislation. In 1913, the AFA lobbied successfully for the removal of the tariff on foreign art entering the United States. In 1916, the Federation met with the Interstate Commerce Commission to protest prohibitively high interstate taxes on traveling art exhibitions.
Throughout the next fifteen years, the AFA continued to grow in membership and influence. By 1919, membership included 438 institutions and 2,900 individuals. The AFA's annual conventions were held in major national art centers and were attended by members, chapter delegates, and the public. At the conventions, scholars, patrons, and curators lectured on and discussed subjects of national interest, thereby fostering an exchange of ideas. The AFA also sponsored periodic regional conferences to promote institutional cooperation and to discuss mutual problems and needs. To facilitate exhibition venues west of the Mississippi River, in 1921 the AFA opened regional offices at the University of Nebraska and at Stanford University. The AFA produced and circulated slide programs and lecture series to museums and educational institutions that fostered art education. By 1929, the Federation had developed forty-six slide-lecture programs that covered American mural painting, European and American contemporary art, and textiles.
During the 1930s, the Federation expanded its services by providing schools with teaching guides, student workbooks, slides, and films about art. In 1935, the AFA began publishing Who's Who in American Art, later publishing The Official Directory of Illustrators and Advertising Artists and Films on Art reference guides. To reach an even larger audience, the AFA began collaborating with the Metropolitan Museum of Art in New York to organize national circulating exhibitions to "bring the museum to the people."
One of AFA's priorities was to make American art more visible abroad. The Federation focused on encouraging the representation of American artists in foreign exhibitions, and in 1924 it lobbied successfully for additional American participation in the Venice Biennale. The AFA's focus on exhibiting American art abroad continued to expand, particularly following World War II. In 1950, recognizing that the AFA could assist in promoting American culture, the State Department awarded the AFA a grant for a German "re-orientation program" consisting of educational exhibitions shown in German museums. Additional government funding further enabled the AFA to organize American participation in exhibitions in India, Japan, Paris, Switzerland, and Rotterdam between 1950 and 1970. Later, the AFA collaborated with the United States Information Agency (USIA) to create the Overseas Museum Donor Program which permitted donations of American art to foreign institutions on a restriction-free, tax-deductible basis. During the 1950s, the AFA was a very active member of the Committee on Government and Art, a national committee with members from across the art and museum world concerned with government sponsorship of and legislation affecting art sales, commissions, and trade.
In 1952, the headquarters of the AFA returned to New York, sparking a period of innovation and expanded of programs. Throughout the 1950s, the AFA distributed films about art and co-sponsored the Films on Art Festival in Woodstock, New York. The AFA also introduced its Picture of the Month Program in 1954, renting original works of art to small American art and educational institutions. In 1956, the AFA organized the Art Collectors Club of America to provide fellowship for art collectors through meetings and activities. The club disbanded in the 1970s.
The Federation's exhibition programs continued to flourish during the 1950s and 1960s. Private and public financial support allowed the AFA to achieve many of its goals. In 1958, the Ford Foundation awarded an important grant to organize a series of traveling one-person shows and a series of monographs devoted to contemporary American artists. Milton Avery, Andrew Dasburg, José DeCreeft, Lee Gatch, Walter Quirt, Abraham Rattner, and others were among the artists who participated. Private foundation support for the AFA's Museum Donor Program provided an annual allowance that was distributed to regional museums for the pourchase of contemporary American art. Cooperative programs and joint venues also became popular during this period. For example, public support from the New York State Council on the Arts allowed the AFA to circulate exhibitions to small New York State communities, and the Virginia Museum of Fine Arts provided the AFA with five exhibitions for national tours.
Throughout its history, the American Federation of Arts has concentrated on its founding principle of broadening the audience for contemporary American art. Through its numerous exhibition and film programs, the AFA has succeeded in "breaking down barriers of distance and language to broaden the knowledge and appreciation of art." Annual exhibitions such as New Talent in the USA and Art Schools USA, organized by the AFA, brought before the public the most contemporary American artists and craftspeople, genres, and artistic forms of experimentation, exposing viewers to new ways of thinking and expression. In 1965, AFA produced The Curriculum in Visual Education, a series of films created to heighten the aesthetic awareness of children.
A vital part of American art history, the AFA was one of the first organizations to develop successfully the concept of traveling art exhibitions on a national and international level. The AFA was instrumental in assisting museums with circulating important juried exhibitions of contemporary art, such as the Whitney Annual and Corcoran Biennial. The AFA also recognized the importance of the exchange of cultural ideas, and it brought exhibitions of the European masters to the American public as well as exhibitions focusing on foreign contempoorary art, photography, and architecture. Many organizations and museums have followed the AFA's precedent, and traveling national and international venues are now commonplace.
Since 1909, women have served as officers and members of the Board of Trustees. Leila Mechlin was a founding participant and served as secretary from 1909 to 1933. Juliana R. Force and Eloise Spaeth both chaired the Exhibition Committee in the late 1940s. Women and artists of diverse backgrounds and nationalities were widely represented in the AFA's exhibition programs, most notably during the 1960s. In 1960, the AFA organized, with financial support from the Ford Foundation, a major Jacob Lawrence retrospective. Additional culturally diverse exhibitions included Contemporary Jewish Ceremonial Art (1961), The Heart of India (1962), 1,000 Years of American Indian Art (1963), and Ten Negro Artists from the United States (1966).
The AFA also had an impact on patronage in the arts. AFA exhibitions of contemporary art provided collectors with knowledge of new artists and avant-garde art forms, creating a broader demand and market for this type of work. Museums and collectors began purchasing work by new or obscure American artists whom they learned about through AFA exhibitions and programs.
The historical records of the American Federation of Arts offer the researcher a unique opportunity to study the development of American art and artists in the twentieth century as well as providing insight into trends in American culture.
Missing Title
1909 -- Founded in New York City. Began publishing Art and Progress (later retitled Magazine of Art) and the American Art Annual.
1910 -- Moved headquarters to Washington, D.C.
1913 -- Lobbied successfully for the removal of the tariff on art entering the United States.
1915-1916 -- Lobbied successfully against the Cummins Amendment and the Interstate Commerce Commission's prohibitively high interstate tax on traveling art.
1920 -- Organized a lobbying campaign for the development of a national gallery of art at its national convention.
1921 -- Opened two new offices at the University of Nebraska and at Stanford University.
1924 -- Arranged American participation in the Venice Biennale exhibition.
1927 -- Closed office at Stanford University.
1929 -- Organized American participation in exhibitions in France and Germany.
1933 -- Closed office at the University of Nebraska.
1935 -- Began publishing Who's Who in American Art.
1948 -- Published The Official Directory of Illustrators and Advertising Artists.
1949 -- Collaborated with the Metropolitan Museum of Art to circulate exhibitions from its collections.
1950 -- Participated in the U.S. government's German re-orientation program.
1951 -- Joined forces with the United States Information Agency (USIA) to create the Overseas Museum Donor Program. Published the reference guide Films on Art. Co-sponsored the Films on Art Festival in Woodstock, New York, through 1957.
1952 -- Moved headquarters to New York City.
1953 -- Magazine of Art liquidated.
1954 -- Introduced the Picture of the Month Program.
1956 -- Founded the Art Collectors Club of America.
1958 -- Received a Ford Foundation grant to finance a series of one-person shows of contemporary American artists.
1960 -- Created the Museum Donor Program.
1961 -- Received a grant from the New York State Council on the Arts to circulate exhibitions to small New York state communities.
1963 -- Received a grant from the Ford Foundation for the Artists in Residence program.
1964 -- Introduced the List Art Poster Program.
1965 -- Produced The Curriculum in Visual Education, a series of films that attempted to heighten the aesthetic awareness of children.
Appendix: List of Artists Exhibiting with American Federation of Arts:
The following is an alphabetical list of artists who exhibited with the American Federation of Arts; many are obscure. The alpha-numeric codes and numbers appearing with the artist's name represent specific AFA exhibition programs and, most often, AFA's exhibition numbering system. In cases where the AFA did not assign an exhibition number, Archives' staff have done so.
The primary reference source for the names and name variants is the American Federation of Arts Records. The names are documented in handwritten notes and lists, typed lists, and exhibition catalogs and announcements. The Archives of American Art name authority file was also consulted in questionable cases. The majority of names, however, were not found in either the AAA name authority file or standard bibliographic resources, and only in the AFA records.
Examples:
55-1: AFA annual exhibitions program
AD-1: Addison Gallery exhibitions
L-1: Life Magazine Exhibitions
ME-1: Misceallaneous exhibitions (numbers assigned by AAA staff)
NMA-1: Metropolitan Museum of Art exhibitions
NE-96: Contemporary Color Lithography
NY-1: New York State Council on the Arts exhibitions
VA-1: Virginia Museum of Fine Arts exhibitions
Missing Title
A. Quincy Jones, Frederick E. Emmons & Assoc: 62-34
The records of the American Federation of Arts (AFA) were donated to the Archives of American Art (AAA) over a thirteen-year period, with the bulk of the material arriving between 1964 and 1966. In 1979, Preston Bolton donated his letters and those from John de Menil, Ann Drevet, Lee Malone, and others regarding planning for the 1957 AFA annual convention held in Houston, Texas; convention committee minutes from 1956; and AFA newsletters. This material, as well as a 1979 gift from Louise Ferrari of transcripts from a panel discussion from the 1957 AFA convention in Houston, was microfilmed on AAA Reel 1780. All material previously microfilmed on Reel 1780 has been fully integrated into the collection and arranged within proper series and subseries. The provenance of the 1990-1993 printed material is unknown.
Restrictions:
Use 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.
Quotes and excerpts must be cited as follows: Oral history interview with Herman Maril, 1971 July 21. Archives of American Art, Smithsonian Institution.
Topic:
Printmakers -- Maryland -- Baltimore -- Interviews Search this
Washington Workshop Center for the Arts Search this
Type:
Sound recordings
Interviews
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Herman Maril, 1965 September 5. Archives of American Art, Smithsonian Institution.
Quotes and excerpts must be cited as follows: Oral history interview with Herman Maril, 1980 July 14. Archives of American Art, Smithsonian Institution.
Topic:
Printmakers -- Maryland -- Baltimore -- Interviews Search this
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 Reference 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:
Franz Bader Gallery records, 1925-1995. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation and the Smithsonian Women's Committee.
Correspondence in this series concerns general topics and art-related activities and is between Gurr, family members, galleries including the ACA Gallery, and colleagues including Mary Cecil Allen, Mary Ascher, Herman Baron, Dorothy Block, Jean De Marco, Emma Ehrenreich, Clare Fasano, Ralph Fabri, Juliana Force, Minna Harkavy, Rockwell Kent, Karl Knaths, Louis Lozowick, Ross and Dorothy Moffett, John von Wicht, and Lynd Ward.
See Appendix for list of notable correspondents in Series 2.
Appendix: Notable Correspondents in Series 2:
Below is a list of notable correspondents found in Series 2 which also provides dates of individual letters.
Adler, Samuel: see Photographs
Allen, Mary Cecil: 06 Oct, 1956, 29 Oct 1956, 31 Dec 1956, 24 Jan 1957, 30 Jan 1957, 26 Feb 1957, 05 Mar 1957, 05 Apr 1957, 23 Apr 1957, 10 May 1957, 21 Sep 1957, 01 Oct 1957, 14 Nov 1957, 13 Dec 1957, 08 Mar 1958, 26 Apr 1958, [1958], 27 Sep 1958, 02 Oct 1958, 12 Dec 1958, 15 Dec 1958, 19 Dec 1958, 30 Dec 1958, 19 Jan 1959, 25 Feb 1959, 21 Mar 1959, 15 Apr 1959, 25 Apr 1959, 04 May 1959, 25 May 1959, 10 Jul 1959, 07 Dec 1959, 11 Mar 1960, 27 Mar 1960, 22 May 1960, 27 May 1960, 04 Nov 1960, 18 Jan 1961, 17 Mar 1961, 26 May 1961, 18 Sep 1961, 17 Oct 1961, 07 Nov 1961, 31 Dec 1961, 19 Jan 1962, 08 Mar 1962, 16 Apr 1962, 14 Apr 1962; also see Photographs
Ascher, Mary: 05 Sep 1953, 29 Sep 1957, [1958], 02 Jul 1958, 27 Jul 1959, 13 Aug 1959, 15 Jan 1960, 20 Feb 1960, 26 Jul 1960, 19 May 1961, 01 Jun 1962, 22 May 1965, 27 Aug 1965, 08 Feb 1966, 19 Jun 1966, 09 Jul 1966, 03 Oct 1968, [May 1972], [Sep 1972], 13 Feb 1974, Aug 1975, Nov 1976
Avery: 22 Jan 1959
Baron, Herman (ACA Gallery): 17 Aug 1934 (letter to Joseph Biel), 22 Aug 1934 (letter to Joseph Biel), [1935], 02 Jul 1945, Jul 1949, [Jun 1950], 22 Jul 1950, Sep 1956, 08 Jul 1958; (2); also see 19 Mar 1934 letter in Biel/Gurr scrapbook; see Photographs
Biddle, George: 28 Feb 1949
Biel, Joseph: see Herman Baron; see Jerome Milkman
Bishop, Isabel: undated (6),12 Dec 1958, 05 May 1967, 11 Feb 1968
Block, Dorothy: 17 Jan 1949, 19 Feb 1949, 12 Mar 1949, 06 May 1949, 02 Sep 1949, 09 Jul 1950, 07 Nov 1950, Dec 1950, 14 Dec 1951, 20 Aug 1952, 04 Sep 1952, 26 Nov 1952, 20 Sep 1954, [1956], 21 Jun 1956, 07 May 1957, 21 Aug 1957, 28 Feb 1965, 08 Aug 1974, 07 Jan 1978, 11 Aug 1978, 05 Sep 1978
Botkin, Henry: see Photographs
Bouche, Louis: 04 Mar 1964 (form letter signed by Bouche)
Buell, Alice Standish: 12 Nov 1950
Burliuk, David and Marussia: 15 Mar 1947, 12 Dec 1947, 21 Jan 1959
Canaday, John: 29 Dec 1960
Carewe, Sylvia (Sylvia Carewe Small): undated (letter and exhibition announcement), 25 Jan 1945, 01 Jun 1947, 24 Jun 1949, [1951]
Cecere, Ada Rasario: 05 Jun [1950]
Citron, Minna: Oct 1951 exhibition announcement and catalog
Cotton, Lillian: see Photographs
Crawford, Lesley: 20 Nov 1952, 05 Jan 1961 (letter in Gurr scrapbook 5)
Crawford, Ralston: 05 Jul 1962
de Marco, Jean: see Clara Fasano
Ehrenreich, Emma: [1940], 14 Jun 1948, Dec 1950, Oct 1953, 06 Jun 1954, 31 May 1958, 20 Jul 1960, 14 Aug 1960, 25 Aug 1960, 28 Dec 1960, 24 Jun 1961 (2),Sep 1961, 10 Jul 1962, 31 Jul 1962, 01 Mar 1963, 08 Jul 1963, [Jun 1964], 04 Jul 1965, 25 Aug 1966, 14 Sep 1971, Aug 1972
Erlanger, Elizabeth: undated (4),[1940], 02 Mar 1949, Dec 1950, 15 Mar 1955, Mar 1957, 17 Apr 1957, 15 Jun 1957, 27 Jun 1957, 25 Jan 1959, 02 Sep 1960, Jan 1963, 05 Jan 1966
Fabri, Ralph: 28 Feb 1951, 01 Jan 1953, 01 Sep 1953, 10 Sep 1953, 20 Jun 1955, 19 Nov 1955, 10 Jul 1956, 15 Mar 1957, 14 Jul 1957, 24 Aug 1957, 12 Jun 1958, 29 Aug 1958, 25 May 1959, 07 Sep 1959, 23 Aug 1959, 23 Jul 1960, 10 Oct 1960, 01 Mar 1961 (letter in Gurr scrapbook 5), 06 Aug 1961, 23 Aug 1961, 16 Oct 1961, 23 Apr 1962, 17 Aug 1962, [1962], 26 Jun 1963 (letter in Gurr scrapbook 5), 19 Aug 1963, 02 Oct 1963, 24 Aug 1964, 25 Aug 1965, [Apr 1966], 03 Sep 1966, 03 Sep 1967, 31 Aug 1968, 26 Aug 1969, 20 Aug 1970, 23 Aug 1971, 31 Aug 1972, 04 Nov 1972
Fasano, Clara and Jean de Marco: 17 Aug 1936, 15 Nov 1943, 09 Jun 1949, 01 Jul 1950, 23 Aug 1950, 20 Aug 1951, 18 Jun 1952, 30 Aug 1952, 27 Aug 1954, 22 Jul 1958, 09 Sep 1958, 08 Jul 1959, [Oct 1968], 04 Nov 1968, 07 Dec 1968, 27 Dec 1968, 24 Mar 1969, 10 Jul 1969, 17 Oct 1969, 21 Feb 1970, 05 May 1970, 25 May 1970, 11 Jul 1970, 29 Jul 1970, 24 Oct 1970, 30 Jan 1971, 28 Apr 1971, 18 Aug 1971, 09 Oct 1971, 05 Nov 1971, 25 Dec 1971, 04 Jan 1972, 15 Jan 1972, 21 Jul 1973, 05 Nov 1973, 09 Dec 1973, 08 Feb 1974, 04 Mar 1974, 13 Oct 1976; also see Photographs
Fiene, Ernest: 12 Mar 1961
Floch, Joseph: undated (letter to Floch), 29 Dec 1977 (letter from Mimi Floch)
Force, Juliana: 13 Dec 1932, 19 Jan 1933, 16 Dec 1933, 29 Jan 1934, 08 Feb 1934, 04 Oct 1934, 11 Apr 1938, 26 Apr 1938, 20 Feb 1940, 08 Apr 1940, 09 May 1940, 21 Sep 1940, 15 Jun 1944 (letter to Force), 19 Mar 1947; also see 01 Jun 1934 letter in Biel/Gurr scrapbook
Freilich, Michael: 12 Aug 1947, 20 Aug 1950, 01 May 1951, 15 Aug 1951, 23 Jul 1952, 18 Aug 1953, 31 Jul 1954, 14 Aug 1955, 23 Jul 1956, 16 Jul 1957, 08 Jul 1958, 31 Aug 1960, 03 Sep 1964, 09 Sep 1965
Gelb, Jan: see Interview
Genauer, Emily: 28 Nov 1958, Dec 1958
Gerardia, Helen: undated (2),26 Aug 1950, 13 Dec 1950, 18 Aug 1952, 30 Jun 1952, 23 Jan 1953, 07 Mar 1953, 22 May 1955, 02 Feb 1959, 05 Jan 1961, 14 Oct 1966
Getz, Arthur: 09 Jun 1958; also see Margarita Gibbons
Gibbons, Margarita: undated (25),25 Oct 1949, [1950], [1958] (4),[1960] (4),[Jan 1964] (2),[Feb 1964], [Oct 1969]; also see Arthur Getz
Glickman, Maurice: see Florence Lewison
Glintenkamp, Hendrick: 1956 exhibition catalog (in Gurr scrapbook 4)
Gold, Leah: 09 Jul 1957
Goodrich, Lloyd: 13 Nov 1952
Gould, Janet: undated (card with a photograph of her home); 24 Feb 1945, 05 Dec 1952, 21 Jun 1953, 24 Feb 1965; also see letters from Maria Norman
Harkavy, Minna: undated, 14 Aug 1950, 02 Sep 1952, 02 Sep 1953, 18 Jul 1960, 13 Jul 1964, 23 Aug 1965, 02 Aug 1967; also see Photographs
Held, Louis: 07 Apr 1946, 25 Jan 1949, 14 Jun 1950, 02 Feb 1953, 26 Jun 1958, 16 Jun 1960, 08 Jun 1965, 08 Jul 1968, Nov 1969, 25 Dec 1971, Jan 1977, Oct 1977, 26 Dec 1977, Dec 1978
Hirsch, Joseph: 10 Sep 1975 (form letter signed by Hirsch)
Hirshhorn, Joseph: undated (2), 24 Sep 1945, 01 Jul 1950, 08 Sep 1954, 21 Feb 1963 (letter to Hirshhorn)
Jones, Joe: see Photographs
Kainen, Jacob: 24 Aug 1965 (letter to Kainen)
Kaplan, Joseph: see Photographs
Katz, Hilda: 30 Nov 1947, 15 Jan 1950, 02 Mar 1950, 31 May 1950, 24 Nov 1953
Kent, Rockwell: 19 Aug 1948, 10 Mar 1951, 11 Dec 1957 (letter containing photograph of Kent, Gurr, and Walter Thornton), 06 Jun 1968
Kish, Maurice: 09 May 1948, 12 Feb 1949, 13 Dec 1949, 03 Jan 1950 (letter to Kish), 27 Apr 1950, 02 May 1950, 17 May 1950, Jan 1951, 12 May 1951, 13 Mar 1952, 24 Nov 1953, 15 Aug 1955, 11 Jul 1957, 24 Jan 1960, Oct 1961, 29 Dec 1962
Klonis, Stewart: 18 Nov 1964
Knaths, Karl: 30 Oct 1967 (letter to Knaths), 28 Aug 1968 (letter to Knaths), 01 Sep 1968 (letter from Knaths in Gurr scrapbook 7), 23 Dec 1968 (letter to Knaths), 04 Jan 1970
Koenig, Martha Elizabeth: 09 Sep 1945, 23 Apr 1950 (obituary notice and photograph of Koenig from 1949); 01 Dec 1950 (letter from Koenig's husband)
Kroll, Leon: undated (5 undated letters to Kroll), 01 Dec 1958, 21 Dec 1958, 06 Dec 1959, 09 Dec 1960, 20 Jan 1961, 07 Dec 1961, 06 Mar 1962, 09 Dec 1962, 31 Mar 1964, 13 Jan 1965 (letter to Kroll), 13 Jul 1967 (letter to Kroll), 21 Jul 1967
Kruse, Alexander Z.: 10 Jun 1948, 18 Feb 1951, 11 Feb 1952, 16 Jun 1954 (letter in Gurr scrapbook 4); 28 Aug 1954
Lawrence, Jacob: undated (invitation from Charles Alan for a party in honor of Jacob Lawrence); 08 Nov 1963 (form letter signed by Lawrence); also see Photographs
Lorne, Naomi: 27 Apr 1946, May 1954, 13 Jul 1955, 28 Jul 1955, 01 Sep 1955, 19 Jun 1956, 09 Jul 1956, 08 Aug 1956, 11 Aug 1956, 16 Aug 1956, Mar 1957, 24 Jun 1957, 08 Aug 1957, 14 Aug 1957, 01 Aug 1960, 22 Aug 1960, Jun 1961
Lozowick, Louis and Adele: undated, [Jan 1949], 29 Jan 1955, 07 May 1961, 23 Nov 1963, 29 Mar 1965; also see 03 May 1933 letter in Biel/Gurr scrapbook; see Photographs
MacDowell Colony: 21 Feb 1963, 04 Mar 1963, Jan 1968
Mackendrick, Lilian: undated, [1940], 10 Jan 1950, 07 Apr 1955, 26 Jun 1956, 01 Apr 1958
Marantz, Irving: see Photographs
Maril, Herman: 05 Feb 1963, 27 Oct 1967, 26 Aug 1978
Mayer, Ralph and Bena: undated, 12 Apr 1950, 12 Sep 1951, Aug 1953, 01 Aug 1958, 09 Feb 1965, 01 Aug 1965, 05 Apr 1966, 05 Nov 1973
Mayor, A. Hyatt: 15 Dec 1962
Milkman, Jerome: 03 Jan 1940, 08 Jan 1940 (letter to Milkman from Joseph Biel), 01 Jan 1945
Minnigerode, C. Powell: 03 Nov 1928 (letter in Gurr scrapbook 1)
Moffett, Ross and Dorothy: undated, 27 Oct 1956, 31 Dec 1956, Jan 1959, 17 Dec 1960, 23 Apr 1961, 19 Oct 1961, 14 Apr 1962, 13 Mar 1963, 22 Jan 1964, 02 May 1964, 04 Jan 1966, 10 Apr 1966, 25 Sep 1966, 06 Oct 1966, 15 Nov 1966, 31 Jan 1967, 03 Feb 1968, 01 Oct 1969, 07 Apr 1970, 09 Dec 1973 (letter to Dorothy)
Newman, Elias: 14 Dec 1948 (letter in Gurr scrapbook 3); 28 May 1952 (letter in Gurr scrapbook 4); 16 Oct 1953, 10 May 1971
Norman, Maria: undated (3),11 Jan 1945, 27 Jan 1945, [1945] (2),[1948], 24 Feb 1945, 14 Apr 1945, 07 Oct 1945, 02 Dec 1947, 04 Feb 1948, 03 Apr 1948, 03 Jan 1949, 18 Dec 1949, 20 Dec 1949, Jan 1950, 18 Jan 1950, 12 Feb 1951, [1951], 16 Mar 1951, 28 Jun 1951, 06 Jul 1951, 31 Jul 1951, 03 Aug 1951, 07 Aug 1951 (letter to Norman from Hallmark Cards), 24 Aug 1951 (letter to Norman from Hallmark Cards), 30 Aug 1951, 10 Sep 1951, 24 Oct 1951, Dec 1951, 02 Jan 1952, 15 Jan 1952, 17 Feb 1952, 19 Feb 1952, 12 Mar 1952, 24 Mar 1952, 08 Jun 1952, 23 Aug 1952, 01 Oct 1952, 03 Sep 1952, 14 Sep 1952, 20 Nov 1952, 20 Dec 1952, Jan 1953, 06 Mar 1953, 02 Apr 1953, 16 Apr 1953, 29 May 1953, 17 Jun 1953, 25 Jun 1953, 17 Aug 1953, 02 Oct 1953, 18 Oct 1953, 25 Dec 1953, 03 Jan 1954, 16 May 1954, 10 Jul 1954, 10 Aug 1954, 20 Aug 1954, 13 Sep 1954, 24 Sep 1954, 06 Oct 1954, 02 Nov 1954, 24 Dec 1954, 25 Dec 1954, Jan 1955, 23 Jan 1955, 27 Jan 1955, 27 Feb 1955 (2),15 Mar 1955, 30 Mar 1955, 18 Apr 1955, 26 Apr 1955, 08 May 1955, 14 May 1955 (2),16 May 1955, 28 May 1955, 07 Jun 1955, 12 Jun 1955, 24 Jun 1955, 17 Jul 1955, 27 Sep 1955, Dec 1955, 04 Jan 1956, 26 Jan 1956, 12 Mar 1956, 12 Apr 1956 [in German], 18 Apr 1956, 04 Jun 1956, 11 Jun 1956, 27 Jun 1956, [1956], 26 Jul 1956, 29 Aug 1956, 18 Sep 1956, 21 Sep 1956, 06 Nov 1956, 25 Nov 1956, 28 Nov 1956, 09 Jan 1957, 01 Apr 1957, 10 Apr 1957, 27 Apr 1957, 07 May 1957, 18 May 1957, 22 May 1957, 27 Jun 1957, 18 Jul 1957, 28 Jul 1957, 17 Aug 1957, 16 Sep 1957, 05 Oct 1957, 28 Oct 1957, 14 May 1958, 03 Jun 1958, 14 Jul 1958, 30 Jul 1958, 01 Jan 1959, 17 Mar 1959, 22 Apr 1959, 29 Nov 1959, 18 Jan 1960, 24 Mar 1960?, 25 Dec 1960 (with photograph), 09 Jan 1961, 08 Aug 1961 Nov 1961, 16 Nov 1961, 24 Nov 1961, Dec 1961, 08 Feb 1962, 04 Apr 1962 (with 2 photographs), 12 Jul 1962 (2),01 Aug 1962, 03 Mar 1963, 02 Oct 1963, 28 Oct 1963, 14 Dec 1963 (2),31 Jan 1964, 30 Jan 1965, 24 Jun 1965, 15 Nov 1965, [1966], 29 Nov 1966, 02 May 1968, 26 Dec 1968, 02 Jan 1969, Dec 1970, 15 Dec 1971; also see Photographs
Ostrowsky, Abbo: see Art Work
Pach, Walter: 26 Nov 1950
Saint-Gaudens, Homer: undated (letter to Saint-Gaudens); 12 Sep 1931 (letter in Gurr scrapbook 1); 10 Jun 1948
Scaravaglione, Concetta: undated (2), 24 Aug 1970
Schapiro, Meyer: 04 Feb 1963, 26 Dec 1963 (letter to Schapiro)
Scharff, Constance: [1940] (2), Dec 1950, 17 Oct 1953, Dec 1955 (letter in Gurr scrapbook 4); 15 Mar 1977 (exhibition announcement)
Seckar, Alvena: 29 Mar 1946, [May 1946], 02 Aug 1946 (including a transcript of radio interview with Gurr), 07 Mar 1948, 21 May 1949 exhibition announcement, [Jan 1952] (3),05 Jan 1952, 05 Apr 1952, 18 Oct 1953, 21 May 1954
Small, Sylvia Carewe: see Sylvia Carewe
Soyer, Moses: undated, 04 May 1966 (letter to Soyer), 13 Oct 1974 (invitation to memorial service)
Soyer, Raphael: [May 1949] (form letter in Gurr scrapbook 3)
Steichen, Kate: 20 Apr 1949
Toney, Adele: undated (2)
Tromka, Ann and Abram: 04 Jun 1948, Jan 1949, 06 May [1954], 31 Jul 1954, 30 Aug 1954, 22 Sep 1954, 12 Oct 1954, 16 Oct 1954, 23 Oct 1954, 29 Oct 1954 (with Abram Tromka's 22 June 1954 obituary), 13 Jun 1957
von Wicht, John: undated (4),03 Feb 1951, 28 Sep 1951, 09 Jul 1952, 25 Jul 1952, 09 Oct 1953, 13 Feb [1956], 09 Apr 1956, 07 Sep 1956 (illustrated letter), 17 Jan 1958, 27 Jan 1958 (illustrated letter), 15 Feb 1958, 28 Sep 1959, Dec 1968
Walker, Hudson: [Sep 1965], 25 Jan 1967, 07 Aug 1968, Dec 1976 (thanks for sympathy card)
Ward, Lynd: 08 Feb 1957 (letter in Gurr scrapbook 4); 12 Apr 1965, 06 Nov 1972 (2 letters in Gurr scrapbook 8)
Wilson, Solomon: 07 Oct 1956; also see Photographs
Woljeska, Helen: 04 Jan 1945, 15 Jan 1945, 26 Sep 1945
Young, Gladys G.: 18 Jun 1945
Zorn, Clara: Dec 1950
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Lena Gurr papers, 1908-1979. Archives of American Art, Smithsonian Institution.
The papers of painter and printmaker Herman Maril measure 10.6 linear feet and date from 1934-1986, Included are biographical information, files regarding exhibitions, artists and institutions, and printed material.
Biographical / Historical:
Herman Maril (1908-1986) was a painter, printmaker and teacher in Baltimore, Md.
Provenance:
Donated 1978-1981 by Herman Maril with the bulk of the material donated 2018 by the Herman Maril Foundation via David Maril.
Restrictions:
This collection is temporarily CLOSED to researchers due to archival processing and digitization. For more information, please contact Reference Services.
Occupation:
Art teachers -- Maryland -- Baltimore. Search this
Inventory cards track artwork entering and leaving the gallery. Each card lists a work's artist, title, date, media, and measurements. Most cards include a photograph of the artwork, and most cards further list the ultimate action taken regarding the work (sold, returned to artist or gallery, consigned, etc.), the list price or paid price, exhibition and catalog history, and the history of price quotes given for the work. The gallery used a number of abbreviations for the transactions on the inventory cards:
NFS - Not For Sale
RTA - Returned to Artist
o/c - On Consignment (from)
o/a - On Approval
OOG - Out of Gallery
O/L - On Loan (from)
TGF - Top Gallant Farm
There are no inventory cards tracking pre-Columbian art and artifacts in the collection. The cards represent works from both the New York gallery and Zurich gallery.
The cards are arranged into ten overlapping groups established by the gallery representing transactions, such as sales and consignments, loans, returns, and other general art movement. Within each category, most of the cards are alphabetized by artist and thereafter by title, but occasionally an artist's work is divided into categories (for example by media) before being arranged alphabetically by title:
Returned to Artist
Sold (pre-1993)
Sold
Sold and/or Returned to Artist
Returned to Artist
Sold
Old Top Gallant Farm Sculptures
Emmerich Private Sold
Last Active Inventory and Sales
Additional Cards
See Appendix for a list of artists' names represented by the Artist Inventory Cards in Series 8.1.
Appendix: Artists' Names Represented in Artist Inventory Cards in Series 8.1.:
Aakre, Richard
Abbott, Berenice
Abercrombie, Douglas
Adams, Ansel
Adams, Robert
Africano, Nicholas
Albers, Josef
Alechinsky, Pierre
Altoon, John
Amerine, Wayne
Andre, Carl
Annesley, David
Appel, Karel
Arakawa
Arbus, Diane
Arman
Arp, Jean (Hans)
Ashbaugh, Dennis
Atget, Eugene
Atkins, Anna
Audubon, J.J.
Avery, Milton
Bacon, Francis
Bailey, William
Baldus, Edouard
Ball, Lillian
Balthus
Bannard, Walter Darby
Barlett, Jennifer
Barth, Frances
Barth, Wolf
Bartolini, Luciano
Basquiat, Jean-Michel
Baziotes, William
Beasley, Barth
Bireline, George
Bleckner, Ross
Blossfeldt, Karl
Bocklin, Arnold
Boisseu
Boisson, L.
Bolotowsky, Ilya
Bolus, Michael
Bonnard, Pierre
Bonnet, Phi
Bradley, Peter
Beasley, Bruce
Becher, Bernd and Hillar
Bellocq, E.J.
Benazzi, Raffael
Benton, Fletcher
Best, Mary Ellen
Beuys, Joseph
Bill, Max
Boepple, Willard
Bogart, Bram
Borofsky, John
Boxer, Stanley
Botero, Fernardo
Boudin, Eugene
Bourke-White, Margaret
Brach, Paul
Brancusi, Constantin
Braque, George
Brassaï
Breed, Charles
Brui
Brush, Daniel
Buchwald, Howard
Buckley, Stephen
Bucklow, Christopher
Bush, Jack
Butterfield, Deborah
Calder, Alexander
Callahan, Harry
Cascella, Andrea
Caracciolo, Roberto
Caro, Anthony
Cezanne, Paul
Chadwick, Lynn
Chagall, Marc
Chamberlain, John
Chase, Louisa
Chillida, Eduardo
Christensen, Dan
Christo
Clifford, Charles
Close, Chuck
Cohen, Elaine Lustig
Conlon, William
Contino, Leonard
Crile, Susan
cummings, e.e.
Dahl-Wolfe, Louise
David, Michael
Davis, Gerald
Davis, Lynn
Davis, Ronald
de Amaral, Olga
de Chirico, Giorgio
de Clercq, Louis
de Kooning, Willem
Degas, Edgar
Dehner, Edgar
Delaunay, Robert
Delaunay, Sonia
Dembiczak, J.G.
de Valdivia, Marco
di Suvero, Mark
Diebenkorn, Richard
Dill, Guy
Dill, Lesley
Diller, Burgoyne
Dine, Jim
Disderi
Dorazio, Piero
Downes, Rackstraw
Drapell, Joseph
Drentwett
Dubuffet, Jean
Duchamp, Marcel
Duck-Hyun, Cho
Dufy, Raoul
Du Maine, H.
Durandelle, Louis-Emille
Durrant, Jennifer
Dzubas, Friedel
Edgerton, Dr. Harold
Egger, Marc
Eggleston, William
Embry, Norris
Ellis, Stephen
Emmerich, Tobias
Ernst, Max
Evans, Walker
Fautrier, Jean
Feeley, Paul
Feist, Harold
Ferber, Herbert
Ferrara, Jackie
Fessler, Cristina
Fischl, Eric
Flavin, Dan
Fleming, Linda
Fontana, Corsin
Fontana, Lucio
Ford, Hermine
Fornier, Paul
Foster, John
Fournier, Paul
Francis, Sam
Francis, Sherron
Franck
Frank, Robert
Frankenthaler, Helen
Freud, Lucian
Friedberg, Richard
Freres, Henry
Friedlander, Lee
Fuger
Funakoshi, Katsura
Fuss, Adam
Galanin, Igor
Giacometti, Alberto
Gibbons, Arthur
Gilliam, Sam
Ginnever, Charles
Giordani, Patrice
Glarner, Fritz
Gliko, Carl
Gonzalez, Julio
Goodnough, Robert
Gorchov, Ron
Gordon, Harry
Gorky, Arshile
Gossweiler, Christoph
Gottlieb, Adolph
Graffin, Daniel
Graham, John
Graubner, Gotthard
Graves, Nancy
Green, June
Greenleaf, Ken
Griefen, John Adams
Grill
Gris, Juan
Groover, Jan
Guston, Philip
Gutman, John
Hacklin, Alan/Allan
Hagemeyer, Johan
Hall, Lee
Hantai, Simon
Haring, Keith
Harman, Maryann
Hartley, Marsden
Hartung, Hans
Hatcher, Brower
Held, Al
Hendler, Raymond
Hennessy, Richard
Hepworth, Barbara
Herdeg, Christian
Hide, Peter
Highstein, Jene
Hirschfeld
Hitch, Stewart
Hockney, David
Hodgkin, Howard
Hoenigsberg, Helga
Hofmann, Hans
Hollega, Wolfgang
Honegger, Gottfried
Hope, Polly
Hopper, Edward
Horne, Bernard Shea
Hosiasson, Philippe
Hoyland, John
Hoyningen-Heune, George
Hughto, Darryl
Hughto, Margie/Marjorie
Humphrey, Ralph
Hutchinson, Jay
Hutchinson, Jaqueth
Indiana, Robert
Isherwood, Jon
Jenkins, Paul
Jensen, Bill
Johns, Jasper
Johnson, Meredith
Jorn, Asger
Kandinsky, Wassily
Kelly, Ellsworth
Kertesz, Andre
Keskeny, George
Kiesler, Frederick
Kisling
Klee, Paul
Klein, Yves
Klett, Mark
Kline, Franz
Knoop, Guitou
Koekoek, B.C.
Krasner, Lee
Kupka, Frantisek
Kuwayama, Tadaaki
Lack, Stephen
Landfield, Ronnie
Lange, Dorothea
Langlois and Martens
La Noue, Terence
Laurens, Henri
Leger, Fernand
Le Gray, Gustave
Lehman, Wendy
LeRoy, Jeanette
Letellier, B.
Lettron, J.
Levee, John
Levinson, Moss
Levitt, Helen
Lewitt, Sol
Liberman, Alexander
Lichtenstein, Roy
Lindner, Richard
Lipschitz, Jacques
Lipski, Donald
Lipsky, Pat
Lissitsky, El
Lipsky, Pat
Lohse, Richard Paul
Long, Richard
Longobardi, Nino
Louis, Morris
Lüthi, Bernhard
Lüthi, Urs
Lutz
Lydis, Mariette
MacWhinnie, John
Maillol, Aristide
Mairwöger, Gottfried
Mapplethorpe, Robert
Marden, Brice
Maril, Herman
Marin, John
On Consignment from Peter Marks
Martin, Agnes
Martins, Maria
Marx, G.L.
Maryan
Masullo, Andrew
Mathieu, Georges
Matisse, Henri
Matta, Roberto
McDermott & McGough, Messrs.
McDonnell, Joseph Anthony
McLaughlin, John
McLean, John
Meadmore, Clement
Megert, Christian
Miller, Robert
Milton, Peter
Miró, Joan
Misrach, Richard
Mitchell, Joan
Model, Lisette
Moholy-Nagy, Laszlo
Monet, Claude
Moore, Henry
Morandi, Giorgio
Moses, Ed
Motherwell, Robert
Mulder, George
Muller-Brittnau, Willy
Murray, Elizabeth
Muybridge, Eadweard
Nadar, (Felix Tournachon)
Nadelman, Elie
Nakian, Reuben
Natkin, Robert
Nemont, G.
Neugass, Fritz
Nevelson, Louise
Newman, Arnold
Newman, Barnett
Nezhdanov, Alexander
Nicholson, Ben
Nickson, Graham
Nixon, Nicholas
Noel, Georges
Noguchi, Isamu
Noland, Kenneth
Nolde, Emil
Offord, J. Milton
Oldenburg, Claes
Olitski, Jules
Olmec
Ono, Yoko
Orr, Eric
O'Sullivan, Timothy
Otterness, Tom
Outerbridge, Paul
Paik, Nam June
Parodi, Filippo
Penn, Irving
Pepper, Beverly
Perless, Robert
Perlman, Joel
Pettet, William
Pfaff, Judy
Picabia, Francis
Picasso, Pablo
Pissarro, Camille
Pollock, Jackson
Pomodoro, Arnaldo
Poons, Lawrence
Porter, Fairfield
Porter, Katherine
Poulos, Basilios
Press, Naomi
Quaytman, Harvey
Quigley, Edward
Quisgard, Liz Whitney
Rainer, Arnulf
Raush, Mark
Rauschenberg, Robert
Ray, Man
Recanati, Dina
Reddinger
Reinhardt, Ad
Richter, Gerhard
Rickey, George
Ridenhour, William
Rivers, Larry
Robb, Charles
Robbins, Bruce
Robert, Louis
Rockburne, Dorothea
Rodin, Auguste
Rosan, Larry
Rosen, Felix
Rosenthal, Tony
Rosenquist, James
Rossi, Rosalie
Rothko, Mark
Row, David
Rozen, Feliz
Rutherford, Louis M.
Ryan, Anne
Ryan, Kevin
Ryman, Robert
Saba, Richard
de Saint Phalle, Niki
Saito, Kikuo
Salemme, Attilio
Samaras, Lucas
Sander, August
Sander, Ludwig
Sanders, John
Santomaso, Giuseppe
Schapiro, Miriam
Schlemmer, Oskar
Schlesinger, Mark
Schumacher, Emil
Scott, Robert
Scott, Tim
Scott, William
Seery, John
Segal, George
Seligmann, Kurt
Sellers, Daniel
Serra, Richard
Shapiro, Joel
Shields, Alan
Signac, Paul
Simpson, David
Sisley, Alfred
Slone, Sandi
Smith, David
Smith, Hassel
Smith, Kimber
Smith, Tony
Sohanievich, Oleg
Sommer, Frederick
Sommer, Giorgio
Southall, Derek
Spence, Andrew
Stamos, Theodoros
Stankiewicz, Richard
Steichen, Edward
Steiner, Michael
Stella, Frank
Stephan, Gary
Stettheimer, Florine
Stevens, Peter
Still, Clyfford
Stoltz, David
Stone, Sylvia
Strand, Paul
Sugarman, George
Sugimoto, Hiroshi
Sultan, Donald
Sutton, Carol
Sutton, Pat Lipsky
Tajiri, Shinkichi
Talbot, William Henry Fox
Tanger, Susanna
Tatafiore, Ernesto
Thiebaud, Wayne
Thorne, Joan
Tillyer, William
Torres-Garcia, Joaquin
Truitt, Anne
Twombly, Cy
Tworkov, Jack
Unger, Mary Ann
Upton, Ann
Wagner, Merrill
Van Dongen, Kees
Van Gogh Manuscript
Van Stalbent, Adrien
Van Velde, Bram
Vasarely, Victor
Venet, Bernar
Verna, Germaine
Vicente, Esteban
Vuillard, Edouard
Waid, Mary Joan
Walsh, James
Ward, Cora Kelly
Warhol, Andy
Warren, Catharine
Wells, Lynton
Watkins, Charlton E.
Wegman, William
Wessel, Henry
Wesselman, Tom
Westfall, Stephen
Wiegmann, Jenny
Willette, Adolph
Williams, Neil
Williams, Roger
Willis, Thornton
Wilmarth, Christopher
Winogrand, Garry
Witkin, Isaac
Witkin, Joel-Peter
Woelfli, Adolf
Wofford, Philip
Wolfe, James
Wols, Alfred Otto Wolfgang
Wonner, Paul
Woodman, Betty
Woolf, Paul
Wotruba, Fritz
Yokoi, Teruko
Youngerman, Jack
Yunkers, Adja
Zerbe, Karl
Zimmerman, Daniel
Zox, Larry
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
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:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Leon Levy Foundation.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund
Roosevelt, Franklin D. (Franklin Delano), 1882-1945 Search this
Extent:
39 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1965 September 5
Scope and Contents:
An interview of Herman Maril conducted 1965 September 5, by Dorothy Seckler, for the Archives of American Art.
Maril speaks of growing up in Baltimore, Maryland.; attending the Maryland Institute of Fine Arts; visiting museums in the Washington, D.C. area; exhibiting his paintings in Washington, D.C. galleries and New York City galleries; working for the Treasury Art Project; surviving the Great Depression; teaching at the Cummington School of Art in Cummington, Massachusetts; serving in the Army Air Corps during WWII; painting murals with the Public Buildings Administration; teaching at the King-Smith School, the Washington Workshop of the Arts, the Philadelphia Museum of Art, and the University of Maryland; living in Provincetown; painting and his influences; being interviewed for books and a short film. Maril also recalls Roger Frye, Paul Cézanne, Henry Roben, Charles Walther, Franklin Delano Roosevelt, Edward Rowan, Eleanor Roosevelt, Chaim Gross, Henri Matisse, Piero della Francesca, Mino Argento, Olin Dows, Giotto di Bondone, Georges Henri Rouault, Wassily Kandinksy, Charles Walthrop, Franz Kline, Willem de Kooning, Eliot O'Hara, Sheldon Cheney, Florence Watson, Jacques Lipchitz, Mason F. Lord, and others.
Biographical / Historical:
Herman Maril (1908-1986) was a painter and printmaker from Baltimore, Maryland.
General:
Originally recorded on 1 sound tape. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
American University (Washington, D.C.). Fine Arts Dept. Search this
Container:
Reel 2215.american
Type:
Archival materials
Microform [31027000123071]
Collection Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Collection Citation:
American University Fine Arts Department records. Owned by the American University Fine Arts Department. Filmed by Archives of American Art, Smithsonian Institution.
An interview of Herman Maril conducted 1971 July 21, by Robert Brown, for the Archives of American Art.
Biographical / Historical:
Herman Maril (1908-1986) was a painter, printmaker, and art teacher from Baltimore, Md.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav files. Duration is 53 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Occupation:
Painters -- Maryland -- Baltimore -- Interviews Search this
Art teachers -- Maryland -- Baltimore. Search this
Topic:
Printmakers -- Maryland -- Baltimore -- Interviews Search this
