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:
Daniel Putnam Brinley and Kathrine Sanger Brinley papers, 1879-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection has been digitized and is available online via AAA's website.
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:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Esther Baldwin Williams and Esther Williams papers, 1887-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings and electronic media with no duplicate access copy requires advance notice.
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 Rosenblum Papers, circa 1927-2009, bulk 1950-2006. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. 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:
Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Harriet Blackstone papers, 1870-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Harriet Blackstone papers, 1870-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.
Scope and Content Note:
The papers of New York, Rome, and Paris painter Allen Townsend Terrell painter measure 4.5 linear feet and date from 1908-1982. Included are biographical materials; detailed letters from Terrell to his parents; fourteen diaries describing European travels; scattered financial records; three sketchbooks and miscellaneous sketches; printed material; and photographs of Terrell, his colleagues, his home and studios, artwork, and exhibition installations.
Biographical material includes a passport, membership cards for miscellaneous organizations, brief biographical accounts, and a guestbook containing signatures from several exhibition openings. There are almost daily letters written by Terrell to his parents describing his travels and education in the arts while in Europe. Scattered letters are from friends and colleagues, including one from Albert Laessle.
Fourteen diaries describe daily events in Terell's European travels. Scattered financial material includes banking records and miscellaneous receipts.
Three sketchbooks contain several block prints and miscellaneous sketches by Terrell. Printed material includes clippings, exhibition announcements and catalogs for Terrell and for others, as well as programs, and miscellaneous brochures. Photographs are of Terrell, and of his colleagues, studio, and artwork, in addition to albums containing photographs of his apartment, the Riverhead studio, commissioned projects, and exhibition installations.
Arrangement:
The collection is organized as 7 series; each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1924-1978 (Boxes 1, 6; 3 folders)
Series 2: Letters, 1908-1978 (Boxes 1-3; 2.8 linear feet)
Series 3: Diaries, 1965-1978 (Boxes 3-4; 12 folders)
Series 4: Financial Material, 1925-1933 (Box 4; 7 folders)
Series 5: Artwork, 1925-1982 (Boxes 4, 6; 7 folders)
Series 6: Printed Material, 1911-1976 (Box 4; 15 folders)
Series 7: Photographs, 1925-1972 (Box 5; 15 folders)
Between 1924 and 1926, Terrell established a studio in Paris, later moving to Rome between 1928 and 1931. From 1934 to 1935, he taught watercolor and still life painting at the Parsons School of Design.
Among other exhibitions in Paris, New York, and Philadelphia, Terrell had a solo exhibition at the National Arts Club in 1975. He was a member of the American Watercolor Society and president of the Alumni of the American School at Fontainebleau.
Allen Townsend Terrell died on July 8, 1986.
Provenance:
Allen Townsend Terrell donated his papers in 7 installments between 1975 and 1981.
Restrictions:
Use of original papers 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.
Correspondence is with the National Arts Club regarding an award, with students from the Art Students League and Truro Art Center, with Ethel Edwards concerning Gonzalez's artwork after his death, and with the San Antonio Art League discussing the artwork of Gonzalez's uncle, Jose Arpa. Other correspondence is about professional events and activities, inquiries about purchasing artwork, and with family members.
Arrangement:
General correspondence is arranged chronologically. Other correspondence is arranged alphabetically.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the 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:
Xavier Gonzalez Papers, 1908-1997. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the 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:
Xavier Gonzalez Papers, 1908-1997. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Greenwich Society of Artists (Greenwich, Conn) Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1912-1987
Scope and Contents:
Minutes of meetings, 1922-1959; lists of expenses, 1914-1958; a list of exhibitions; form letters; a resume of Dorothy Ochtman; clippings, 1912-1957; exhibition announcements and catalogs, 1912-1958; 7 exhibition entry announcements, 1954-1958; course announcements, 1929-1958; a brochure THE GREENWICH ART SOCIETY: A CHRONICLE OF THE YEARS 1977-1987; and a medal designed by Tiffany from the National Arts Club to the Greenwich Art Society, 1936. Material on the 1913 Armory Show includes an invitation, a photograph of the installation, and a pin.
Biographical / Historical:
Art society. Formerly the Greenwich Society of Artists. Founded 1912. Some members were associated with the "Cos Cob School," and many associated with the development of the American Impressionist movement. Founders and early members included Edward Clark Potter, Leonard Ochtman, Elmer MacRae, William B. Tubby, Joseph Howland Hunt, Sr., Florence W. Gotthold, George Wharton Edwards and Alden Twachtman. Dorothy Ochtman was secretary, 1928-1946, and President, 1947-1948.
Provenance:
Donated 1987 by the Greenwich Art Society through Sue Dunlap, Historian of the Society.
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.
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:
Lloyd Goodrich papers, 1884-1987, bulk 1927-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copy requires advance notice.
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:
Marcia Marcus papers, 1928-2016, bulk 1950-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the family of Marcia Marcus, and the Lily and Earle M. Pilgrim Art Foundation.
Journal kept by Richard Watson Gilder and Helena de Kay Gilder, beginning at the start of their marriage in June 1874 and spanning four years, including poems and verses, drawings by Helena de Kay Gilder, many of her husband, entries concerning the founding of American Art Association (later the Society of American Artists), and entries reflecting daily occurrences, clippings, and telegrams; and ca. 40 letters from Charles de Kay, primarily to his brother-in-law, Richard Watson Gilder.
Biographical / Historical:
Richard Watson Gilder was a poet and editor of the periodicals Scribner's and Century. Helena de Kay ("H. de K.G." and: deKay, De Kay, DeKay) Gilder was a portrait, still-life, ideal figure, and flower painter, and writer; born 1846 or 8; died 1916. Helena Gilder studied art with John La Farge and Winslow Homer. Professionally, she is often referred to by her maiden name. The Gilders played a central role in the founding of the Society of American Artists. Charles de Kay, an art writer, and founder of the National Sculpture Society and National Arts Club, is Helena de Kay Gilder's brother.
Related Materials:
Richard Watson Gilder papers also located at: New York Public Library and the University of Virginia, Richmond.
Provenance:
Lent for microfilming 1971 by Rosamond Gilder, the daughter of Richard Watson Gilder and Helena de Kay Gilder. She was contacted about lending the journal by Lloyd Goodrich, who had seen the journal while visiting Gilder to see a portrait of Winslow Homer painted by her mother.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Portrait painters -- New York (State) -- New York Search this
Still-life painters -- New York (State) -- New York Search this
Series includes two announcements and a pamphlet for the exhibition of Volk's Lincoln portrait With Malice Toward None, as well as eight announcements and catalogs for other exhibitions, including an Exhibition of Paintings by American Artists (1915) at the American Art Gallery, George P. Perkins. Clippings about Volk include reviews of exhibitions and articles about him including a 2008 article in Antiques magazine titled "Douglas Volk and the Arts and Crafts in Maine," by Arlene M. Palmer. This article is a rich source of information about the history of the Hewnoaks artist colony. Other clippings and miscellaneous material include news articles about Abraham Lincoln, David Lloyd George and the 1919 Treaty of Versailles, and articles on art.
Art-related bulletins and pamphlets include a Bulletin of the Metropolitan Museum of Art recording the 1915 purchase of Volk's portrait of Felix Adler; two Bulletins of the National Arts Club (1923, 1925); and Volk's menu from a National Academy of Design dinner (1915) signed by attendees.
Of note is a mounted clipping of the London News article which included Volk's 1873 sketch of a church ruined by an earthquake in Italy, the first instance of his work appearing in the press. The clipping is annotated by Volk.
Also found is printed material related to Abraham Lincoln and Leonard Well Volk's monument to Stephen A. Douglas. Two folders of reproductions of artwork, some by other artists, may have been used by Volk as source material.
Collection 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.
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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Photographs of Douglas Volk include portraits taken throughout his career, including four by Doris Ulmann, photos of Volk in the studio, and with family members and friends.
Studio photographs of Volk show him working on his painting Father Hennepin Discovering the Falls of St. Anthony (1905), and a painting installed at the Minnesota State Capitol. Some of these photographs are mounted on what appear to be pages from a dismantled scrapbook.
Photos with family and friends include a circa 1880 tintype of Douglas and Marion, and a series of circa 1880s albumen photographs, including some in which Douglas Volk, Leonard Volk, and other family members can be identified. These are possibly related to the photographs of unidentified camps/lakes/woods, some of which may have been taken in the Adirondacks and/or at the Volk's summer retreat in Osceola, Wisconsin. Also found is a group photo taken at the National Arts Club New Year's Eve carnival in 1921.
Individual photos of family members include photos of the Volk children, Gerome, Marion (with her children), and Wendell Volk. Two studio portraits are possibly of Marion Larrabee Volk as they are very similar to a portrait identified as her by the Lovell Historical Society. However, other photographs in this collection which picture Marion with Douglas, raise questions as to the identity of the person in the folder labeled "Marion Volk."
Photos of others include studio portraits of actresses, including Agnes Huntington; a photo of William Merritt Chase inscribed "To my friend Douglas Volk" (circa 1880s); a photo of Karl and Mrs. von Rydingsvard with Wendell Volk; a photo of an unidentified sculptor; a series of photos of boys and men apparently involved in battle re-enactment; and photos of the subjects of Volk's 1919 portraits, including David Lloyd George and King Albert of Belgium.
Photos of places include several of Volk at Hewnoaks, and photos showing the Hewnoaks Rambling Timbers and Viking Court buildings in the early 20th century. Also found are three photographs of the interior of the Minneapolis School of Fine Arts, including one of a class in progress.
Photos of Volk's artwork include one showing Volk's work at an undated exhibition at the Art Institute of Chicago. Photos of artwork by others include six cyanotypes, and several photos of wood carved furniture, one identified as being by Karl von Rydingsvard. Other wood-carved furniture pictured may also be by von Rydingsvard, and/or possibly Wendell Volk.
Collection 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.
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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Financial records document primarily routine, but also art-related, expenses. They include bank statements and canceled checks, some of which record payments to art and professional organizations such as the Architectural League, the Arts Club of Washington, the National Arts Club, the National Sculpture Society, and the Society of Mural Painters, as well as to individuals including William M. Post, John Wanamaker, Russell Cowles, Karl von Rydingsvard, R. Whalen, and others. The canceled checks are supplemented by, and in some cases can be cross-referenced with, check records which consist primarily of check book stubs recording deposits and withdrawals on Volk's account, including art-related transactions.
Bills and receipts include a 1914 certificate acknowledging receipt by the Chicago Historical Society of Volk's gift of the life mask of Stephen. A. Douglas, made in Chicago by his father (Replica 4th original). Tax records include some information about Volk's professional expenses in the early 1920s. Insurance records are both routine and art-related.
Two Parke-Bernet Galleries, Inc. auction catalogs document sales of Lincoln memorabilia, including that belonging to Jessie Volk in 1953. Records of the sales include correspondence and lists of items sold and buyers.
Collection 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.
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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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:
Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.