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Maurer, Alfred Henry

Collection Creator:
Carnegie Institute, Museum of Art  Search this
Container:
Box 90, Folder 90
Type:
Archival materials
Date:
1901-1906
1908-1909
1911
1920-1922
Collection Restrictions:
Use of original papers 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:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
See more items in:
Carnegie Institute, Museum of Art records
Carnegie Institute, Museum of Art records / Series 1: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-carninst-ref5185

Maurer, Alfred Henry, 1964CY: Vase of Flowers

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 65
Type:
Archival materials
Date:
1987-1989
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d1222a09-820a-42ff-9e3e-80c9b25507c5
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3937

Maurer, Alfred Henry, 4040CY: River Landscape

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 68
Type:
Archival materials
Date:
1993-1994
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90cda53e5-d3c6-48a4-826d-d234e2310236
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3940

Maurer, Alfred Henry, 8784CY: Still Life

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 71
Type:
Archival materials
Date:
2002-2003
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9920e9ffb-bf73-4be0-b17c-0cc67597985c
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3943

Maurer, Alfred Henry, 480CY: Still Life with Red Flowers

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 63
Type:
Archival materials
Date:
1981, 1983
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw930606d15-003f-40d7-9e4a-5ec6ba2162ae
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3935

Maurer, Alfred Henry, 486CY: Still Life with Apple and Roll

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 64
Type:
Archival materials
Date:
1981-1982
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a107d4f4-72c4-4a64-93bd-760e9a9443c1
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3936

Maurer, Alfred Henry, 2719JY: Flowers in a Vase

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 66
Type:
Archival materials
Date:
1989
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e0d49395-7e38-41eb-828a-f69fcc551fcc
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3938

Maurer, Alfred Henry, 3833CY: Still Life with Red Flowers

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 67
Type:
Archival materials
Date:
1993, 1995
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b13100b0-ce41-4f20-90f1-081c8033b353
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3939

Maurer, Alfred Henry, 4592LY: Vertical Abstract Still Life

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 69
Type:
Archival materials
Date:
circa 1995
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a47bfd78-eb0b-4f65-a69a-7f86534637f4
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3941

Maurer, Alfred Henry, 6525JY: Still Life with Croissant

Collection Creator:
Richard York Gallery  Search this
Container:
Box 41, Folder 70
Type:
Archival materials
Date:
1998-1999
Collection Restrictions:
Use of original papers 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:
Richard York Gallery records, circa 1865-2005, bulk 1981-2004. Archives of American Art, Smithsonian Institution.
See more items in:
Richard York Gallery records
Richard York Gallery records / Series 2: Artists' Artwork Files / 2.1: General
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw980dacd7a-ff2d-4d2f-b7fd-17afc5d3f995
EDAN-URL:
ead_component:sova-aaa-richyorg-ref3942

Elizabeth McCausland papers, 1838-1995, bulk 1920-1960

Creator:
McCausland, Elizabeth, 1899-1965  Search this
Subject:
Hartley, Marsden  Search this
Abbott, Berenice  Search this
Hawthorne, Charles Webster  Search this
Henri, Robert  Search this
Henry, Edward Lamson  Search this
Dove, Arthur Garfield  Search this
Kleinholz, Frank  Search this
Morgan, Barbara Brooks  Search this
Stieglitz, Alfred  Search this
Weegee  Search this
Hine, Lewis Wickes  Search this
Inness, George  Search this
Lawrence, Jacob  Search this
Maurer, Alfred Henry  Search this
Weston, Edward  Search this
American Art Research Council  Search this
Federal Art Project (U.S.)  Search this
United States. Farm Security Administration  Search this
Barnard College  Search this
Type:
Scrapbooks
Drawings
Photographs
Place:
New York N.Y. -- Pictorial works -- photographs
Topic:
Springfield Republican  Search this
Federal aid to the arts  Search this
Art -- History -- Study and teaching  Search this
Modernism (Art)  Search this
Women art historians  Search this
Women authors  Search this
Theme:
Diaries  Search this
Art Theory and Historiography  Search this
Photography  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)7839
(DSI-AAA_SIRISBib)210006
AAA_collcode_mccaeliz
Theme:
Diaries
Art Theory and Historiography
Photography
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210006
Online Media:

Minutes of meeting of Group of 8, 1919 Dec. 31

Creator:
Gussow, Bernard, 1881-1957  Search this
Subject:
Bouché, Louis  Search this
Maurer, Alfred Henry  Search this
Stella, Joseph  Search this
Weber, Max  Search this
Zorach, William  Search this
Exposition d'artistes de l'école Américaine (1919 : Paris, France)  Search this
Topic:
Art, American -- Exhibitions  Search this
Art, Modern -- 20th century  Search this
Theme:
American Art and Artists in a Global Context  Search this
Record number:
(DSI-AAA_CollID)10580
(DSI-AAA_SIRISBib)214056
AAA_collcode_gussbern
Theme:
American Art and Artists in a Global Context
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214056

Elizabeth McCausland papers

Topic:
Springfield Republican
Creator:
McCausland, Elizabeth, 1899-1965  Search this
Names:
American Art Research Council  Search this
Barnard College -- Faculty  Search this
Federal Art Project (U.S.)  Search this
United States. Farm Security Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Henry, Edward Lamson, 1841-1919  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Inness, George, 1825-1894  Search this
Kleinholz, Frank, 1901-  Search this
Lawrence, Jacob, 1917-2000  Search this
Maurer, Alfred Henry, 1868-1932  Search this
Morgan, Barbara Brooks, 1900-1992  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weegee, 1899-1968  Search this
Weston, Edward, 1886-1958  Search this
Extent:
45 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Photographs
Place:
New York N.Y. -- Pictorial works -- Photographs
Date:
1838-1995
bulk 1920-1960
Summary:
The papers of art critic, writer, and historian Elizabeth McCausland measure 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of research data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material donated later from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.
Scope and Content Note:
The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1995. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.

McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for The Springfield Republican in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.

The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the Changing New York book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book Careers in Art (1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.

Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.

Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to The Springfield Republican from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, Changing New York), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.

Additional material belonging to Elizabeth McCausland and donated by the estate of Berenice Abbott includes biographical material; business and personal correspondence; professional project files and writings, including drafts and research materials related to the book projects Art in America, Conversations with March, and Frank Kleinholz; and printed materials, including reprints of critical essays and articles by McCausland.
Arrangement:
The collection is arranged as 15 series:

Missing Title

Series 1: Personal Papers, 1838, 1920-1951 (Boxes 1-2, 34; 1.5 linear feet)

Series 2: Correspondence, 1923-1960 (Boxes 2-5; 2.9 linear feet)

Series 3: General Writings, circa 1930-1954 (Boxes 5-6; 0.9 linear feet)

Series 4: Alfred H. Maurer, 1851-1951, bulk 1948-1950 (Boxes 6-9; 3.7 linear feet)

Series 5: American Processional, 1949-1951 (Boxes 10-11; 1.8 linear feet)

Series 6: Marsden Hartley, 1900-1964, bulk 1944-1964 (Boxes 11-21, OV 37; 10 linear feet)

Series 7: Other Research and Writing Files, 1896, 1926-1958 (Boxes 21-25, 31; 4.6 linear feet)

Series 8: Subject Files, 1927-1954 (Boxes 25-26; 1.0 linear feet)

Series 9: Other Exhibition Files, 1939-1941, 1944 (Box 26; 0.1 linear feet)

Series 10: Teaching Files, 1939-1965 (Box 27; 0.5 linear feet)

Series 11: Committee Files, 1936-1960 (Box 27; 0.5 linear feet)

Series 12: Printed Material, 1923-1953 (Boxes 28-32, 34, OV 38, BV 44-47; 4.6 linear feet)

Series 13: Photographs, circa 1905-1950 (Boxes 32-36, OV 37; 1.4 linear feet)

Series 14: Art Work, 1887-1942 (Boxes 33-34, OV 39-43; 0.7 linear feet)

Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott, 1920-1995 (Boxes 48-53; 5.4 linear feet)
Biographical Note:
Elizabeth McCausland, the art critic and writer, was born in Wichita, Kansas in 1899. She attended Smith College, receiving her Bachelor's degree in 1920 and her Master's in 1922. Beginning in 1923, she worked as a general reporter for The Springfield Republican (Springfield, Massachusetts). After several years, she began to review art exhibitions and soon became an established art critic. In the course of her work, she began to develop friendships with artists, such as Alfred Stieglitz and Arthur Dove. During these early years, she also wrote poetry and designed and printed limited edition publications on her private press.

McCausland moved to New York in 1935, but continued to contribute a weekly art column to The Springfield Republican until it suspended publication in 1946. From the mid-1930s on, she worked primarily as a freelance writer and art critic, contributing articles to publications such as Parnassas, The New Republic, and Magazine of Art. In the latter part of her career, her writings focused more on art history and special studies on artists.

In the late-1930s, McCausland collaborated with the photographer Berenice Abbott on the Federal Art Project book, Changing New York, for which she provided the text to Abbott's now-famous photographs of New York City neighborhoods, architecture, and street scenes. She studied and wrote about photography, including numerous articles on the photographer Lewis Hine (of whose work she organized a retrospective exhibition at the Riverside Museum in 1939), and was appointed to the Advisory Committee of the Museum of Modern Art's Department of Photography in 1944.

McCausland went on to organize other exhibitions, including a show of contemporary work, "The World of Today" (Berkshire Museum, 1939), shows of silk screen prints (Springfield Museum of Fine Arts, March 1940 and New York State Museum, Summer 1940), and a photography show, "Photography Today" (A.C.A. Gallery, 1944). In the late 1930s, she embarked upon a study of "the status of the artist in America from colonial times to the present, with especial attention to the relation between art and patronage," which continued over twenty years (and was never completed) and for which she received a Guggenheim fellowship in 1943.

In addition to her other writing, during the 1940s, McCausland carried out studies on the artists, E. L. Henry and George Inness, which resulted in exhibitions at the New York State Museum in 1942 and the George Walter Vincent Smith Art Museum in 1946, respectively and publications (a report on Henry and a book on Inness). From 1948 to 1949, she carried out an extensive study of the painter, Alfred H. Maurer, organizing an exhibition, "A. H. Maurer: 1868-1932," which showed at the Walker Art Center and the Whitney Museum of American Art in 1949, and publishing the biography, A. H. Maurer, in 1951. In 1950, she worked as a special consultant on the American Processional exhibition at the Corcoran Gallery and as editor of the accompanying book. Shortly thereafter, she began a study of Marsden Hartley for a monograph, which was published in 1952, and she helped organize the Hartley exhibition at the University of Minnesota that same year. She continued the Hartley study on larger scale for a planned biography and catalogue raisonne; although she continued to work on it off and on for the next decade, the project was never completed.

McCausland published other books, including Careers in the Arts (1951), and undertook other research and consulting projects, such as photo-editing Carl Sandburg's Poems of the Midwest (1946), conducting surveys of art and advertising for an article in Magazine of Art and of art education for Cooper Union Art School, and contributing yearly articles on art to various encyclopedias. At different times throughout her career, she supplemented her income by taking teaching positions. She taught courses on art history at Sarah Lawrence College from 1942 to 1944 and at Barnard College in 1956, as well as courses at the Design Laboratory (1939) and the New School for Social Research (1946). She also gave numerous lectures and speeches on various art topics, and regularly participated in conferences and symposiums. Towards the end of her career, she was publishing less, but was still involved in many projects, most notably the Hartley study.

McCausland was a tireless promoter of the arts, and often an advocate for artists. Even though her work was well-known among certain art circles, she never received the recognition as a writer that she deserved. Nor was she ever able to free herself from the pressure of writing for a living. Continually suffering from poor health, she died on May 14, 1965.
Related Material:
Related material found in the Archives includes a sound recording from a symposium on Marsden Hartley, of which McCausland was a participant, held at the Portland Museum of Art in 1961. The Frank Kleinholz papers contain a recorded interview of McCausland done in 1944-1945 for radio station WNYC. Some of McCausland's correspondence is found in the G. Alan Chidsey papers; Chidsey served as a trustee of the Marsden Hartley estate.
Separated Material:
Material separated from the collection includes some issues of Camera Work (Vol. 30, 47, 49/50), which were combined with other issues in an artificial collection created by the Archives at some earlier point.
Provenance:
Elizabeth McCausland donated the bulk of her papers in several installments from 1956 to 1961. An unknown donor, perhaps her literary executor, donated additional papers sometime after her death in 1965. It appears that McCausland originally donated her research files on Marsden Hartley, measuring 10 linear feet, to the Whitney Museum, who then lent them to the Archives for microfilming in 1966, and donated them sometime thereafter. McCausland originally donated files of newspaper clippings and offprints of her articles to the The New York Public Library, who gave them to the Archives in 1968. Additional McCausland material from the estate of Berenice Abbott was donated to the Archives in 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Art critics -- New York (State) -- New York  Search this
Women art critics  Search this
Topic:
Federal aid to the arts  Search this
Art -- History -- Study and teaching  Search this
Modernism (Art)  Search this
Women art historians  Search this
Women authors  Search this
Function:
Arts organizations
Genre/Form:
Scrapbooks
Drawings
Photographs
Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cebe32f8-0180-44bb-a2a8-8ed061f173c1
EDAN-URL:
ead_collection:sova-aaa-mccaeliz
Online Media:

Artist Files

Collection Creator:
Robert Schoelkopf Gallery  Search this
Extent:
(boxes 1-23, 23 linear ft.)
Type:
Archival materials
Date:
1851-1991, undated
Scope and Contents note:
This series forms the core of the collection and comprises files relating to more than three hundred artists whose work the gallery represented or handled at some point. The main types of material that can be found here include correspondence with artists and clients interested in borrowing, consigning, or purchasing their work; printed material documenting exhibitions of individual artists at the Robert Schoelkopf Gallery and related events; general reference material about gallery artists; photographic images of works of art dealt with by the gallery; and photographs of artists. Items of particular interest are noted in parentheses after the folder title.

Individual artists are represented by groups of material ranging from a single file to several linear feet of files, depending on the gallery's level of involvement with their work. Groups of files of particular interest are described in greater detail below. A list of all known group and one-person exhibitions held at the gallery is provided as an appendix and can be used to identify the dates of exhibitions for specific artists.

Relations with many of the gallery's contemporary artists are particularly well documented in this series. The gallery's interest in figurative painting that incorporated elements of allegory, myth, fantasy, and dreams is evinced in files relating to artists such as Milet Andrejevic, Bruno Civitico, Martha Mayer Erlebacher, and David Ligare. Gabriel Laderman, another artist who worked extensively with allegorical themes, is also well represented in this series, and of particular interest are his letters describing his experiences living and working in Malaysia. Correspondence files relating to the painter Caren Canier contain personal letters from the artist that detail her attitude to her work and her relationships with her husband, artist Langdon Quin, and their two children. Paul Wiesenfeld, a realist painter who specialized in portraits and finely detailed interiors, also wrote to the gallery from Germany disclosing aspects of his personal life that affected his work. Correspondence with sculptor Isabel McIlvain contains detailed explanations by the artist of her attitudes to her work and her sculpting methods. McIlvain's files also chronicle her commission to produce a sculpture of John F. Kennedy that was unveiled in Boston in 1990.

Files relating to William Bailey record many aspects of his relationship with the Schoelkopfs. Correspondence files primarily comprise letters to and from clients interested in Bailey's work but are interspersed with correspondence with Bailey and his wife that often details personal aspects of their lives as well as providing insight into Bailey's artistic development and his experiences living in Italy, where he and his family resided much of the time. Consignments and sales of Bailey's work are well documented here, as is the gallery's role in the compilation and publication of three books about the artist. An extensive collection of news clippings records various stages of his career and the growth of his commercial success.

Two substantial groups of files document the gallery's representation of painter Louisa Matthiasdottir and her husband, Leland Bell. Correspondence with Bell includes mention of his time spent in Europe and his teaching experiences, and reveals his sardonic wit.

Several files of correspondence with Miyako Ito offer rich insight into a short period during the artist's life. The bulk of the material comprises letters written by Ito to Robert Schoelkopf in 1960 and 1961, occasionally on a daily basis and often of a very poetic and deeply reflective and emotional nature.

Folders relating to Joseph Cornell contain some correspondence with the artist that offers insight into his personality. They also record Schoelkopf's bid, albeit in vain, to represent the artist's estate following his death in 1972 and the gallery's commitment to Cornell through continued consignment of his work.

Files concerning Manierre Dawson document the gallery's representation of the artist's estate and arrangements for the first one-person exhibition of his paintings in New York only a few months before his death in the summer of 1969. The files include correspondence with Dawson in which he discusses preparations for the exhibition, supplies information concerning dates and locations of his paintings, and expresses concerns about his illness. Letters from Dawson's wife, Lillian, written immediately after his death, can also be found here as well as several marked-up copies of the catalog for the 1969 exhibition that includes an introduction written by the artist. The Dawson files document the activities of the partnership formed by Frank J. McKeown, Jr., Dr. Lewis Obi, and Lefferts L. Mabie, Jr., to purchase paintings from the Dawson estate and provide details of how the partnership worked with Schoelkopf as the sole gallery agency for Dawson's paintings. The files also record the distribution of loans and gifts from the partnership to various art institutions.

More than two feet of records offer detailed coverage of Robert Schoelkopf's interest in Gaston Lachaise and his involvement in the administration of the Lachaise Foundation. Correspondence files chronicle relations among Schoelkopf, John B. Pierce, Jr. (trustee of the foundation), and Felix Landau and record decisions taken regarding publications about the artist, policies for casting and limiting editions of his sculpture, and strategies for promoting Lachaise through exhibitions. The traveling exhibition that opened in September 1967 and was still circulating in 1991 is well documented here, as are other practical concerns such as maintaining accounting and storage records of the artist's work.

Files relating to Ethel Myers include correspondence with the artist's daughter, Virginia Downes, and document Schoelkopf's handling of Myers's estate and his involvement in exhibitions to promote her work. The files include one undated letter and one copy of a letter from Myers to Downes, dated 1941, and a copy of a letter from Henry McBride to Myers from 1913. Copies of autobiographical notes written by Myers about her childhood, artists she knew, her marriage to Jerome Myers, and the outbreak of war in Europe can also be found here.

Several files document the appointment and activities of Robert Schoelkopf and Felix Landau as exclusive agents for the sale of works of art from the estate of Elie Nadelman.

A substantial group of files relating to Joseph Stella chronicle Schoelkopf's involvement with Michael and Sergio Stella, trustees of Joseph Stella's estate, and his representation of the estate from 1963 until 1971, when he withdrew from the position following a dispute over commissions. The gallery continued to consign work from the Stella estate until 1991, and these files contain details of those consignments and reflect Schoelkopf's lifelong commitment to promoting Stella's work.

Files relating to John Henry Bradley Storrs document Schoelkopf's relationship with the artist's daughter, Monique Storrs Booz, who designated Schoelkopf as the new agent for works of art from her father's estate when her contract with the Downtown Gallery was terminated in 1969. Schoelkopf continued to represent Storrs's work when Monique Storrs Booz died in 1985, leaving the estate in the hands of two of the artist's grandchildren. Details of the gallery's relationship with Noel Frackman, who conducted important research on Storrs, can also be found here. Of additional interest are two sets of photographs attributed to John Storrs: a group of eleven platinum prints (apparently there were originally thirteen), primarily portraits of children, and a group of twenty-seven silver gelatin prints of rural and coastal scenes.

Another significant component of this series is the number of files documenting the gallery's relationship with various contemporary photographers. Files of correspondence concerning Brassaï contain substantial correspondence with the photographer himself, who frequently wrote to the gallery in French. Records relating to Walker Evans detail Evans's consignments to the gallery and include some letters from him of a more personal nature, such as one describing his observations during a trip to London in 1966. Photographer Giséle è wrote regularly to the gallery, and her letters include detailed descriptions of the processes she employed in printing her work.

Correspondence relating to Julia Margaret Cameron contains several items of interest including a letter from Cameron dated August 10, 1873, to a Mrs. Way concerning photographs of Way's daughter, and an article on Cameron by Charles Harvard with notes containing biographical details about the photographer.

Within its artist files the gallery retained a group of files marked "Miscellaneous." These files contain small amounts of material, often only one or two pieces, relating to various artists for whom an individual file was not maintained or who were unidentified. These records are placed at the end of the alphabetical files and contain primarily copy prints, transparencies, and slide transparencies. Material is arranged alphabetically by name of artist, with records relating to unidentified artists placed at the beginning. To retain the alphabetical arrangement various media formats are filed together and dated material is interfiled with undated material, which forms the bulk of the contents.

The gallery tended to group various types of paper records together with correspondence in a single file. The term "correspondence" in this series, therefore, refers not only to incoming and outgoing letters but also to accounting and consignment records, reports (such as inventory lists), artists' résumés, exhibition lists, price lists, and other miscellaneous notes. In cases where a certain type of "correspondence" was originally filed separately from other material of this kind, and represents a significant amount of material, that material is filed in a separate folder (e.g., Accounting and Consignment Records).

Generally, arrangement of photographs in this series follows the system outlined under Organization and Arrangement, with some notable exceptions. Photographs of works of art by Gaston Lachaise and Elie Nadelman were originally arranged in a numbering system that is fairly consistent, and this basic original order has been retained. Also, for large groups of photographs of works of art, such as those by Gaston Lachaise, Joseph Stella, and John Henry Bradley Storrs, the gallery filed photographs by media in which the work of art was created; such delineations are reflected in the final arrangement.

The gallery maintained a collection of negatives, primarily of works of art by artists found in Series 1: Artist Files, in addition to other artists not represented there. There is also a small number of negatives of installation shots. The negatives are arranged alphabetically by artist name, with unknown artists at the beginning, and are stored, for preservation reasons, in containers separate from other records in the series. Negative numbers found on the original sleeves have been transcribed onto the paper enclosures now housing the negatives, so that they may be matched to prints in Series 1: Artist Files, in cases where prints exist. An appendix provides an alphabetical list of artists whose work is represented in the negative collection. In some cases, names of artists are incomplete because of insufficient information on the original negative sleeves.

See Appendix A for a list of artists represented in the negatives of works of art found in Series 1.
Appendix A: Artists Represented in Negatives of Works of Art:
Albright, Ivan

[Allston]

Anderson, Lennart

Andrejevic, Milet

Anshutz, Thomas Pollock

Aponovich, James

Bailey, William

Ballaine, G.

Balthus

Barye

Bazelon, Cecile Gray

Beauchamp

Beckwith

Bell, E.

Bell, Leland

Bellows, George

Benton, Thomas Hart

Bernard

Birch, Thomas

[Blauvelk]

Bluemner, Oscar

Blythe, David Gilmour

Bolles, Jesse H.

Bouvier, August

Bradford, William

Branchard, Emile Pierre

Brassaï

Bratby, John

Breckenridge, Hugh H.

Bricher, A. T.

Brook, Alexander

Brown, John George

Burchfield, Charles

Burra, Edward

Carles, Arthur B.

Carlsen

Cartier-Bresson, Henri

Charkow, Natalie

Chase, William Merritt

Chiriani, Richard

Civitico, Bruno

Clark, Alson Skinner

Codman, Charles

Cohen, Frederick

Cole, Thomas

Coleman, Glenn O.

Conrad, Kramer

Cornell, Joseph

Cropsey, Jasper Francis

Currier, [J. Frank]

Dallman, Daniel

Dalou, Jules

Dasburg, Andrew

Daugherty, James Henry

[Davidson]

Davidson, Jo

Davies, Arthur B.

Davis, Stuart

Dawson, Manierre

Degas, Edgar

De Kooning, Willem

Demuth, Charles

Dewing, Thomas Wilmer

Dickinson, Preston

Diederich, William Hunt

[Dix, Otto]

Du Bois, Guy Péne

Duchamp, Marcel

Duveneck, Frank

Eaton

Edmonson, Will

[Eilshemius]

Epstein, [Sir Jacob]

Erlebacher, Martha Mayer

Evans, Walker

Fellini

Fisher, M.

Fiske, Gertrude

Flannagan, John Bernard

Forbes, Charles

Frazier, John Robinson

Freckelton, Sondra

Frieseke, Frederick C.

Gallatin, A. E.

Gay, Walter

Gifford, R. Swain

Gifford, Sanford Robinson

Gignoux, R.

Glackens, William J.

Gleizes, Albers

Goodnough, Robert

Goodwin, Arthur Clifton

Gorky, Arshile

Gorsline

Graham, John

Graham, William

Grant

Grausman, Philip

Graves, Morris

Groz

Guglielmi, Louis

Guillaume

Halsall

Han, Raymond

Hardy, DeWitt

Hart, William

Hartley, Marsden

Hartman, Bertram C.

Harvey, Anne

Hatke, Walter

Hawthorne, Charles Webster

Heade, Martin Johnson

Henri, Robert

Hill, T.

Hirst, Claude R.

Hitchcock

Hohwiller, L. M.

Hopper, Edward

Horton, William S.

Johnson, David

Johnson, Eastman

Johnson, Lester

Jones, Bern

Kane, John

Karfunkle, David

Kelly, L.

Kensett, John Frederick

Klee, Paul

Klimt, Gustav

Kline, Franz

Knaths, Karl

[Kresch]

Kruger, Louise

Kuhn, Walt

Kuniyoshi, Yasuo

Lachaise, Gaston

Laderman, Gabriel

Lawrence, Jacob

Lawson, Ernest

Lechay, Myron

Leibowitz, Leonard

Leutz

Levinson, Abraham F.

Ligare, David

Lipchitz

Luks, George

MacDonald-Wright, Stanton

MacMonnies, Frederick William

Manolo

Manship, Paul

Manzu

Marin, John

Martin, Homer D.

Matthiasdottir, Louisa

Matulka, Jan

Maurer, Alfred Henry

McFee Henry

McIlvain, Isabel

Melchers

Metcalf, Willard Leroy

Mills

[Morandi, Giovanni]

Muybridge, Eadweard

Müller, Jan

Muller, Lisa

Myers, Jerome

Nadelman, Elie

Nakian, Reuben

Nevelson, Louise

Newman, A. L.

Nick, George Bentley

Of, George F.

O'Keeffe, Georgia

Orozco, José Clemente

Peterson, Jane

Peto, John Frederick

Pfreim, Bernard

Picasso, Pablo

Piccolo, Richard

Pollet, Joseph

Pollock, Jackson

Poor, H.

Powers, Hiram

Prendergast, Maurice Brazil

Price

Prior, William Matthew

Quin, Langdon

Raiselis, Richard

Ream, C. P.

Reid, Robert

Richards, William Trost

Rimmer, William

Robinson, T. W.

Rodin, Auguste

Romero, Orozco

Rummelspacher

Russell, Morgan

Ryan, Richard

[Ryder, Albert Pinkham]

Saint-Gaudens, Augustus

Salemme, Antonio

Salemme, Attilio

Sargent, John Singer

Schamberg, Morton L.

Schiele, Egon

Schmidt, Edward

Schultz, E. N.

Scott, J. W. A.

Shahn, Ben

Shaw, Sidney Dale

Sheeler, Charles

Shinn, Everett

Sklarski, Bonnie

Sloan, John

Smith, Hope

Staples, W. L.

Steene

Steichen, Edward

Stella, Joseph

Storrs, John Henry Bradley

Stuart, Frederick, T.

Suba, Miklos

Tamayo, Rufino

Tanguy, Yves

Tanner, Henry Ossawa

Taylor, Henry Fitch

Tillim, Sidney

Touster, Irwin

Turner, Helen

Twachtman, John Henry

Urness, Scott

[V., F.]

Van Beest

Van Everen, Jay

Vedder, Elihu

Vespignani

Vonnoh, Robert William

Walcutt, William

[Wall]

Weber, Max

Weir, Julian Alden

Weiss, George

Whistler, James McNeill

Whittredge, Worthington

Wiesenfeld, Paul

Woking

Wood, Thomas Waterman

Wyant, A. H.

Wyeth, Andrew

Zorach, [William]
Collection Restrictions:
The collection is open for research. Use 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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robeschg, Series 1
See more items in:
Robert Schoelkopf Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91abedf45-34c2-49e3-b4eb-079833b500d7
EDAN-URL:
ead_component:sova-aaa-robeschg-ref13

Maurer, Alfred Henry, General

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 14, Folder 19
Type:
Archival materials
Date:
1967-1987, undated
Collection Restrictions:
The collection is open for research. Use 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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw956590695-14c4-4a80-8f6f-25e9b16199dd
EDAN-URL:
ead_component:sova-aaa-robeschg-ref461

Maurer, Alfred Henry - Mills

Collection Creator:
Robert Schoelkopf Gallery  Search this
Container:
Box 23, Folder 11
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection is open for research. Use 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:
Robert Schoelkopf Gallery records, 1851-1991, bulk 1962-1991. Archives of American Art, Smithsonian Institution.
See more items in:
Robert Schoelkopf Gallery records
Robert Schoelkopf Gallery records / Series 1: Artist Files / Negatives of Works of Art
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e752ed51-1452-4b95-a795-45d7cc5fdeba
EDAN-URL:
ead_component:sova-aaa-robeschg-ref744

Four Heads

Artist:
Alfred Henry Maurer, American, b. New York City, 1868–1932  Search this
Medium:
Tempera on fiberboard
Dimensions:
21 7/8 X 18 1/4 IN. (55.4 X 46.1 CM.)
Type:
Painting
Date:
(c. 1930)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3497
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py21982e924-94b9-4dde-9092-8575e0a4678a
EDAN-URL:
edanmdm:hmsg_66.3497

Portrait Of A Man

Artist:
Alfred Henry Maurer, American, b. New York City, 1868–1932  Search this
Medium:
Oil on canvas mounted on wood
Dimensions:
26 3/8 X 18 1/4 IN. (66.9 X 46.3 CM.)
Type:
Painting
Date:
(c. 1930)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3498
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py28c8f7ff0-a04e-4154-b2ca-dc6f4269452e
EDAN-URL:
edanmdm:hmsg_66.3498

At The Window

Artist:
Alfred Henry Maurer, American, b. New York City, 1868–1932  Search this
Medium:
Oil on canvas
Dimensions:
24 1/8 X 19 3/4 IN. (61.1 X 50.1 CM.)
Type:
Painting
Date:
(1899-1900)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3499
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py278ab08d5-b7f4-4a53-aa99-052997e15c19
EDAN-URL:
edanmdm:hmsg_66.3499

Copying in the Louvre

Artist:
Alfred Henry Maurer, American, b. New York City, 1868–1932  Search this
Medium:
Oil on canvas
Dimensions:
24 1/8 X 19 1/8 IN. (61.1 X 49.8 CM.)
Type:
Painting
Date:
(1900-1902)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3501
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
School:
Early American Modernism
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2d4d7441d-ea38-4fac-8c0b-f08e50e369da
EDAN-URL:
edanmdm:hmsg_66.3501

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