Search Results

Creator:

Smithsonian American Art Museum  Search this

Type:

Symposia

YouTube Videos

Uploaded:

2013-07-24T17:56:05.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_YTfpsur5T8A

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-05-13T19:19:31.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_nx_o_RbApQc

Creator:

O'Brien Galleries (Chicago, Ill.)  Search this

Subject:

O'Brien, Martin  Search this

O'Brien, William Vincent  Search this

House of O'Brien  Search this

M. O'Brien & Son  Search this

O'Brien Art Galleries  Search this

O'Brien's Art Emporium  Search this

Type:

Drawings

Scrapbooks

Citation:

O'Brien Galleries records, 1811-1970. Archives of American Art, Smithsonian Institution.

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)6159

(DSI-AAA_SIRISBib)216391

AAA_collcode_obrigall

Theme:

Chicago's Art-Related Archival Materials: A Terra Foundation Resource

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216391

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2018-11-20T21:43:52.000Z

YouTube Category:

Education  Search this

Topic:

Portraits  Search this

See more by:

NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_SZ90wmx4im8

Donor Name:

Franz Richter  Search this

Site Name:

Rubayat  Search this

Culture:

Roman Period  Search this

Greco-Egyptian  Search this

Object Type:

Painting

Place:

Fayum District (Fayyum, Faiyum), Upper Egypt, Egypt, Africa

Accession Date:

1904

Topic:

Archaeology  Search this

Accession Number:

042553

USNM Number:

A230149-0

See more items in:

Anthropology

Data Source:

NMNH - Anthropology Dept.

GUID:

http://n2t.net/ark:/65665/3e12baced-66ee-4c9b-b757-6b38bf29123e

EDAN-URL:

edanmdm:nmnhanthropology_8056880

Interviewee:

Armer, Ruth, 1896-1977  Search this

Interviewer:

Karlstrom, Paul J., 1941-  Search this

Subject:

Bellows, George  Search this

Henri, Robert  Search this

Sloan, John  Search this

Stein, Leo  Search this

Weber, Max  Search this

Art Students League (New York, N.Y.)  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Ruth Armer, 1974 August 14. Archives of American Art, Smithsonian Institution.

Topic:

Art -- Collectors and collecting  Search this

Women artists  Search this

Women painters  Search this

Women art collectors  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)13090

(DSI-AAA_SIRISBib)211933

AAA_collcode_armer74

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_211933

Interviewee:

Campbell, Louisa Dresser, 1907-1989  Search this

Interviewer:

Brown, Robert F.  Search this

Subject:

Worcester Art Museum  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Louisa Dresser, 1972 October 19. Archives of American Art, Smithsonian Institution.

Topic:

Art, American  Search this

Women arts administrators  Search this

Women art historians  Search this

Women museum curators  Search this

Portrait painting -- 17th century -- New England  Search this

Painting -- 17th century -- New England  Search this

Figurative painting, American  Search this

Colonial America  Search this

Decorative arts -- United States  Search this

Theme:

Women  Search this

Record number:

(DSI-AAA_CollID)11845

(DSI-AAA_SIRISBib)212647

AAA_collcode_dresse72

Theme:

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212647

Measurements:

overall: 41 in x 3 in x 41 in; 104.14 cm x 7.62 cm x 104.14 cm

Object Name:

painting, Garfield

painting, portrait

Credit Line:

Gift of George and Julius Garfield

ID Number:

1979.1144.573

Accession number:

1979.1144

Catalog number:

1979.1144.573

See more items in:

Medicine and Science: Medicine

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b3-63a0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1849471

Interviewee:

Armer, Ruth, 1896-1977  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Bellows, George, 1882-1925  Search this

Henri, Robert, 1865-1929  Search this

Sloan, John, 1871-1951  Search this

Stein, Leo, 1872-1947  Search this

Weber, Max, 1881-1961  Search this

Extent:

62 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1974 August 14

Scope and Contents:

An interview of Ruth Armer conducted 1974 August 14, by Paul J. Karlstrom, for the Archives of American Art. Armer speaks of her early interest in art; her education; moving to New York City in 1918; studying at the Art Students League under John Sloan, Robert Henri and George Bellows, and the influences of Leo Stein and Max Weber. She discusses her early work in portrait painting; returning to San Francisco and working as a commercial artist; becoming a teacher; and her opinions of San Francisco art and the art market.

Biographical / Historical:

Ruth Armer (1896-1977) was a painter and art collector from San Francisco, California.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 39 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.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Painters -- California -- San Francisco  Search this

Collectors  Search this

Topic:

Art -- Collectors and collecting  Search this

Women artists  Search this

Women painters  Search this

Women art collectors  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.armer74

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw998ed8042-a28d-4d3a-9418-5742d7ef5c02

EDAN-URL:

ead_collection:sova-aaa-armer74

Interviewee:

Campbell, Louisa Dresser, 1907-1989  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Worcester Art Museum  Search this

Extent:

38 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1972 October 19

Scope and Contents:

An interview of Louisa Dresser conducted 1972 October 19, by Robert Brown, for the Archives of American Art.

Biographical / Historical:

Louisa Dresser (1907-1989) was an art administrator and art historian from Worcester, Massachusetts. She was Curator of the Worcester Art Museum and specialized in Early American Painting.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 49 min.

Provenance:

This interview is part of the Archives' 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.

Restrictions:

This interview is open for research. Contact Reference Services for more information.

Occupation:

Arts administrators -- Massachusetts -- Worcester  Search this

Art historians -- Massachusetts -- Worcester  Search this

Museum curators -- Massachusetts -- Worcester  Search this

Topic:

Art, American  Search this

Women arts administrators  Search this

Women art historians  Search this

Women museum curators  Search this

Portrait painting -- 17th century -- New England  Search this

Painting -- 17th century -- New England  Search this

Figurative painting, American  Search this

Colonial America  Search this

Decorative arts -- United States  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

This interview received support from the Smithsonian American Women's History Initiative Pool.

Identifier:

AAA.dresse72

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw945851cdc-1f54-49a5-b8ed-34feb82aee6e

EDAN-URL:

ead_collection:sova-aaa-dresse72

Creator:

Curtis, Edward S., 1868-1952  Search this

Extent:

16 Linear feet (23 document boxes, 5 oversize flat boxes)

1,950 Photographic prints (Gelatin Silver Chloride and Platinum)

Type:

Collection descriptions

Archival materials

Photographic prints

Date:

1899-1927

Summary:

The collection comprises series 2 of Photo Lot 59, the Library of Congress Copyright Office photographs of Native Americans and contains the photographs of Edward S. Curtis, primarily from his major publication, The North American Indian.

Scope and Contents:

The Library of Congress Copyright Office photos, Series 2 comprise almost 2000 prints submitted by Edward S. Curtis to the copyright office. Most of the photographs relate to his major 20-volume publication, The North American Indian. Included are photographs from all of the volumes with the exception of Volume 20, which focuses on Alaska and the North American arctic, which is not represented.

The photographs include portraits of individuals, village and landscape views, dances and ceremonies, day to day activities, and events.

Please see Photo Lot 59, the Library of Congress Copyright Office photographs of Native Americans for other photographs in Photo Lot 59.

Arrangement:

The Collection forms series 2 of Photo Lot 59, the Library of Congress Copyright Office Photographs. It is arranged in 19 subseries based on the volumes of Curtis's publication, The North American Indian (NAI). There is one subseries, "Other photographs" that contain photos not related to NAI.

Biographical note:

Edward Sherriff Curtis (1868-1952) was an American photographer famous for his photographs of the indigenous peoples of North America. His work was highly influential in shaping a sympathetic yet romantic view of cultures that he and many others believed to be "vanishing." Over the course of 30 years, Curtis visited more than 80 Native American communities and published his photographs and ethnographies in the twenty-volume North American Indian (NAI) (1907-1930).

Curtis was born in Whitewater, Wisconsin, to Ellen and Johnson Curtis in 1868. In about 1874, his family moved to a farm in Cordova, Minnesota. At a young age, Curtis built a camera, and it is possible that he may have worked in a Minneapolis photography studio for a time. In 1887, Curtis and his father moved West and settled on a plot near what is now Port Orchard, Washington, with the rest of the family joining them the following year. When Johnson Curtis died within a month of the family's arrival, 20-year-old Curtis became the head of the family.

In 1891, Curtis moved to Seattle and bought into a photo studio with Rasmus Rothi. Less than a year later, he and Thomas Guptill formed "Curtis and Guptill, Photographers and Photoengravers." The endeavor became a premier portrait studio for Seattle society and found success in photoengraving for many local publications. In 1892, Curtis married Clara Phillips (1874-1932) and in 1893 their son Harold was born (1893-1988), followed by Elizabeth (Beth) (1896-1973), Florence (1899-1987) and Katherine (Billy) (1909-?). Around 1895, Curtis made his first photographs of local Native people, including the daughter of Duwamish chief Seattle: Kickisomlo or "Princess Angeline." Curtis submitted a series of his Native American photographs to the National Photographic Convention, and received an award in the category of "genre studies" for Homeward (later published in volume 9 of the NAI). In 1896, the entire Curtis family moved to Seattle, which included Curtis's mother, his siblings Eva and Asahel, Clara's sisters Susie and Nellie Phillips, and their cousin William Phillips. Most of the household worked in Curtis's studio along with other employees. Curtis became sole proprietor of the studio in 1897, which remained a popular portrait studio but also sold his scenic landscapes and views of the Seattle Area. Curtis also sent his brother Asahel to Alaska and the Yukon to photograph the Klondike Gold Rush, and sold those views as well. Asahel went on to become a well-known photographer in his own right, primarily working in the American Northwest.

Curtis was an avid outdoorsman and joined the Mazamas Club after his first of many climbs of Mount Rainier. On a climb in 1898, Curtis evidently met a group of scientists, including C. Hart Merriam, George Bird Grinnell, and Gifford Pinchot, who had lost their way on the mountain, and led them to safety. This encounter led to an invitation from Merriam for Curtis to accompany a group of over 30 well-known scientists, naturalists, and artists as the official photographer on a maritime expedition to the Alaskan coast. Funded by railroad magnate Edward Harriman, the Harriman Alaska Expedition left Seattle in May of 1899, and returned at the end of July. Curtis made around 5000 photographs during the trip, including photographs of the indigenous peoples they met as well as views of mountains, glaciers, and other natural features. Many of the photographs appeared in the expedition's 14 published volumes of their findings.

In 1900, Curtis accompanied Grinnell to Montana for a Blackfoot Sundance. Here, Curtis made numerous photographs and became interested in the idea of a larger project to document the Native peoples of North America. Almost immediately upon returning from the Sundance, Curtis set off for the Southwest to photograph Puebloan communities. By 1904, Curtis had already held at least one exhibit of his "Indian pictures" and his project to "form a comprehensive and permanent record of all the important tribes of the United States and Alaska that still retain to a considerable degree their primitive customs and traditions" (General Introduction, the NAI) had taken shape and already received some press coverage. With his fieldwork now increasing his absences from home, Curtis hired Adolph Muhr, former assistant to Omaha photographer Frank Rinehart, to help manage the Seattle studio.

In 1904, Curtis was a winner in the Ladies Home Journal "Prettiest Children In America" portrait contest. His photograph of Marie Fischer was selected as one of 112 that would be published and Fischer was one of 12 children selected from the photographs who would have their portrait painted by Walter Russell. Russell and Curtis made an acquaintance while Russell was in Seattle to paint Fischer's portrait, and not long afterwards, Russell contacted Curtis to make photographic studies of Theodore Roosevelt's children for portraits he would paint. Curtis subsequently photographed the entire Roosevelt family, and developed a social connection with the President. Several important outcomes came of this new friendship, including Roosevelt eventually writing the foreword to the NAI, as well as making introductions to influential people.

Key among these introductions was one to wealthy financier John Pierpont Morgan, in 1906. After a brief meeting with Curtis during which he viewed several of Curtis's photographs of Native Americans, Morgan agreed to finance the fieldwork for the NAI project for five years, at $15,000.00 per year. It was up to Curtis to cover publishing and promotion costs, with the publication being sold as a subscription. In return, Morgan would receive 25 sets of the 20-volume publication. The ambitious publication plan outlined 20 volumes of ethnological text, each to be illustrated with 75 photogravure prints made from acid-etched copper plates. Each volume would be accompanied by a companion portfolio of 35 large photogravures. With high-quality papers and fine binding, a set would cost $3000.00. 500 sets were planned. Under Morgan, the North American Indian, Inc. formed as body to administer the monies. Also around this time, Frederick Webb Hodge, Director of the Smithsonian Institution's Bureau of American Ethnology, agreed to edit the publications.

Curtis then began more systematic fieldwork, accompanied by a team of research assistants and Native interpreters. In 1906, Curtis hired William E. Myers, a former journalist, as a field assistant and stenographer. Over the years, Myers became the lead researcher on the project, making enormous contributions in collecting data and possibly doing the bulk of the writing for the first 18 volumes. Upon meeting a new community, Curtis and his team would work on gathering data dealing with all aspects of the community's life, including language, social and political organization, religion, food ways, measures and values, and many other topics. (See box 2 folder 1 in this collection for Curtis's list of topics.) Curtis and his assistants, especially Myers, brought books and papers to the field relating to the tribes they were currently concerned with, and often wrote from the field to anthropologists at the Bureau of American Ethnology and other institutions for information or publications. In addition to fieldnotes and photographs, the team also employed sound recording equipment, making thousands of recordings on wax cylinders. Curtis also often brought a motion picture camera, although few of his films have survived.

The first volume of the NAI was published towards the end of 1907. Already, Curtis was encountering difficulty in finding subscribers to the publication despite great praise in the press and among those who could afford the volumes. Curtis spent progressively more of his time outside the field season promoting the project through lectures and in 1911, presenting his "Picture Musicale"—a lecture illustrated with lantern slides and accompanied by an original musical score—in major cities. After the initial five funded years, only eight of the twenty volumes had been completed. However, Morgan agreed to continue support for the fieldwork and publication continued.

Starting in 1910, Curtis and his team worked among the Kwakwaka'wakw First Nation on Vancouver Island, and in 1913 began to develop a documentary film project featuring the community in Alert Bay. In 1914, Curtis produced the feature-length film, In the Land of the Headhunters. The film showcased an all-indigenous cast and included an original musical score. Screened in New York and Seattle, it received high praise. However after this initial success, it did not receive the attention Curtis had hoped for, and resulted in financial loss.

Meanwhile, Curtis's prolonged absences from home had taken a toll on his marriage and in 1919 Clara and Edward divorced. The Seattle studio was awarded to Clara, and Curtis moved to Los Angeles, opening a photography studio with his daughter Beth and her husband Manford "Mag" Magnuson. Daughters Florence and Katherine came to Los Angeles sometime later. Curtis continued with fieldwork and promotion of the project, and in 1922 volume 12 of the NAI was published. Also in 1922, Curtis was accompanied during the field season in California by his daughter Florence Curtis Graybill, the first time a family member had gone to the field with him since the Curtis children were very small.

Curtis continued to push the project and publications along, yet never without financial struggle and he picked up work in Hollywood as both a still and motion picture photographer. John Pierpont Morgan, Jr., continued to provide funding for the fieldwork in memory of his father, but with the various financial upsets of the 1910s and 1920s, Curtis had a difficult time getting subscribers on board. In 1926, Myers, feeling the strain, regretfully resigned after the completion of volume 18. Anthropologist Frank Speck recommended Stewart Eastwood, a recent graduate from the University of Pennsylvania, to replace Myers as ethnologist for the final two volumes.

In 1927, Curtis and his team, along with his daughter Beth Curtis Magnuson, headed north from Seattle to Alaska and Canada on a final field season. Harsh weather and a hip injury made the trip difficult for Curtis, but he was very satisfied with the season's work. The party returned to Seattle, and upon arrival Curtis was arrested for unpaid alimony. He returned exhausted to Los Angeles, and in 1930 the final two volumes of NAI were published without fanfare. Curtis spent the next two years recovering from physical and mental exhaustion. Beth and Mag continued to run the Curtis studio in LA, but for the most part, Curtis had set down his camera for good. With the NAI behind him and his health recovered, Curtis pursued various interests and employment, eventually, settling down on a farm outside Los Angeles. he later moved in with Beth and Mag. Curtis died at home in 1952.

Sources Cited Davis, Barbara. Edward S. Curtis: the life and times of a shadowcatcher. San Francisco: Chronicle Books, 1984. Gidley, Mick. The North American Indian, Incorporated. New York: Cambridge University Press, 1998.

Related Materials:

The National Anthropological Archives holds additional Curtis material in Photo Lot 59, the Library of Congress Copyright Offie photographs, MS 2000-18, Curtis's research into Battle of Little Bighorn 2010-28, the Edward Curtis papers and photographs, 2022-12, Christopher Cardozo collection of Edward S. Curtis photographs and ephemera, and 2022-04, Edward S. Curtis photogravure printing plates.

The Archives of Traditional Music at Indiana University holds Curtis's wax cylinder audio recordings from 1907-1913.

The Braun Research Library at the Autry Museum of the American West holds the Frederick Webb Hodge papers (1888-1931), which contain substantial correspondence from Curtis. The Braun also holds a small amount of Curtis papers and photographs, including some of Curtis's cyanotypes.

The Getty Research Institute holds the Edward S. Curtis papers (1900-1978), which include the original manuscript scores for the Curtis Picture Musicale and film In the Land of the Headhunters.

The Palace of the Governors at the New Mexico History Museum holds original Curtis negatives pertaining to the southwest.

The Pierpont Morgan Library holds the Edward S. Curtis papers (1906-1947), which contain the records of the North American Indian, Inc., as well as Curtis's correspondence to librarian, and later library director, Belle Da Costa Greene. The library also holds a large collection of Curtis's lantern slides, used in his Picture Musicale.

The Seattle Public Library holds correspondence of Curtis to Librarian Harriet Leitch (1948-1951), pertaining to his career.

The Seaver Center for Western History Research at the Los Angeles County Museum of Natural History holds collection GC 1143, which contains Curtis's field notes as well as manuscript drafts for the North American Indian.

The Smithsonian's National Museum of the American Indian holds NMAI.AC.080, the Edward S. Curtis photogravure plates and proofs, as well as NMAI.AC.053, the Mary Harriman Rumsey collection of Harriman Alaska Expedition photographs.

The University of Washington Libraries Special Collections holds the Edward S. Curtis papers (1893-1983). Additionally, the Burke Museum holds papers and photographs of Edmund Schwinke, which relate to Curtis's work with the Kwakwaka'wakw community.

Provenance:

This set of Edward S. Curtis photographs form part of the Library of Congress Copyright Office photographs collection. The collection was formed from submissions made to the Library of Congress as part of the copyright registration process. Two copies of each item were required. Eventually the copyright submission photographs were sent to the Prints and Photographs division at the Library of Congress. In the late 1950s, arrangements were made to transfer the duplicate set of photographs relating to Native Americans to the Smithsonian Institution.

Restrictions:

The collection is open for research. On-site access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Citation:

Photo Lot 59, Library of Congress Copyright Office photographs, Series 2: Edward S. Curtis, National Anthropological Archives, Smithsonian Institution.

Identifier:

NAA.PhotoLot.59.Series2

See more items in:

Library of Congress Copyright Office photographs of Native Americans, Series 2: Edward S. Curtis

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw3331cd47e-5933-44e6-a961-6511262d3f21

EDAN-URL:

ead_collection:sova-naa-photolot-59-series2

Collection Creator:

Fisher, Ethel, 1923-  Search this

Container:

Box 13, Folder 45

Type:

Archival materials

Date:

circa 1966-1968

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings 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:

Ethel Fisher papers, 1930-2017. Archives of American Art, Smithsonian Institution.

See more items in:

Ethel Fisher papers

Ethel Fisher papers / Series 9: Artwork and Sketchbooks

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98939f2a9-cc0e-490a-9afb-4453804e25af

EDAN-URL:

ead_component:sova-aaa-fishethe-ref816

Collection Creator:

Gump's Gallery (San Francisco, Calif.)  Search this

Type:

Archival materials

Date:

circa 1877-circa 1958

Scope and Contents:

Photographs of artwork are presented in three categories. Old master paintings are preceded by a list of paintings giving title and artist, followed by photos of the individual works with price, catalog number, and rack number. Most photographs are also accompanied by a biographical note about the artist and may include dimensions of the work and an additional (inventory?) number.

For portrait paintings, photos of the works are grouped together with more than one painting in a single frame. Many of these have much less accompanying information and may have only a number attached, although some have accompanying images of the photo verso with additional information such as title, artist, dimension, and price.

Scrapbooks primarily house printed material such as announcements, catalogs, and clippings, but also include scattered correspondence, writings such as descriptive notes on artworks and essays on artists, price lists, and reproductions of artwork.

Collection Restrictions:

The Archives of American art does not own the original papers. Use is limited to the 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.

Identifier:

AAA.gumpgall, Series 1

See more items in:

Gump's Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91f12d378-266e-40a6-9eb6-33744e8c6322

EDAN-URL:

ead_component:sova-aaa-gumpgall-ref7

Creator:

Gorelick, Shirley, 1924-2000  Search this

Subject:

Gorelick, Leonard  Search this

Soho 20 (Gallery)  Search this

Central Hall Gallery (Port Washington, N.Y.)  Search this

Type:

Sketchbooks

Citation:

Shirley Gorelick papers, 1939-2008, 2016, bulk 1939-1980s. Archives of American Art, Smithsonian Institution.

Topic:

Sister Chapel (Art installation)  Search this

Women painters  Search this

Women artists  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)22098

AAA_collcode_goreshir

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_22098

Creator:

Gorelick, Shirley, 1924-2000  Search this

Names:

Central Hall Gallery (Port Washington, N.Y.)  Search this

Soho 20 (Gallery)  Search this

Gorelick, Leonard  Search this

Extent:

4.8 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1939-2008

2016

bulk 1939-1980s

Summary:

The papers of painter Shirley Gorelick measure 4.8 linear feet and date from 1939-2008, 2016, with the bulk of the material dating from 1939-1980s. The collection documents Gorelick's life and career through biographical material, personal and professional correspondence, scattered writings, professional files recording her involvement with art collectives and galleries owned and/or run by women, printed and photographic material, and nine sketchbooks and loose sketches.

Scope and Contents:

The papers of painter Shirley Gorelick measure 4.8 linear feet and date from 1939-2008, 2016, with the bulk of the material dating from 1939-1980s. The collection documents Gorelick's life and career through biographical material, personal and professional correspondence, scattered writings, professional files recording her involvement with art collectives and galleries owned and/or run by women, printed and photographic material, and nine sketchbooks and loose sketches.

Biographical material includes resumes and some early employment and education records. Personal correspondence primarily records the first years of Gorelick's marriage and provides insight into her early career through detailed correspondence with her husband, Leonard Gorelick. Professional correspondence is with multiple art galleries, organizations, and institutions primarily relating to exhibitions, pricing of her artwork, sales, and press reviews of her work, including by Lawrence Alloway who corresponded with Gorelick.

Scant writings include artists statements and notes as well as two papers Gorelick wrote as a student.

Professional files include price lists and an inventory of Gorelick's fine art collection, and also document her involvement with SOHO 20 and Central Hall Gallery and her contribution to The Sister Chapel installation.

Printed material documents Gorelick's extensive exhibition history through announcements, catalogs, and press reviews of her solo and group exhibitions and related awards.

Gorelick's sketchbooks comprise 9 volumes with some additional loose sketches enclosed, primarily containing figure studies in pencil. The series also includes an etching and a pencil study.

Photographic material provides what appears to be a comprehensive catalog of Gorelick's artwork from the 1960s through the 1980s, including slides and photos of many of her paintings, intaglio prints, and silverpoint drawings, as well as some of the models Gorelick worked with repeatedly. Also found are photos of Gorelick including portraits, studio photos, and photos of her with friends, colleagues, and family, and of Gorelick at events including exhibition openings and installations.

Arrangement:

The collection is arranged as seven series.

Series 1: Biographical Material, circa 1942-2000 (Box 1; 7 folders)

Series 2: Correspondence, 1939-1994 (Box 1; 0.7 linear feet)

Series 3: Writings, 1942-circa 1980s (Box 1; 4 folders)

Series 4: Professional Files, circa 1960-1996, 2016 (Box 1; 7 folders)

Series 5: Printed Material, circa 1940s-2008 (Boxes 2-3, OV 7; 1.8 linear feet)

Series 6: Sketchbooks, circa 1960s-circa 1980s (Boxes 2, 6; 0.3 linear feet)

Series 7: Photographic Material, 1960s-1990s (Boxes 3-5; 1.7 linear feet)

Biographical / Historical:

New York and Washington, D.C. painter Shirley Gorelick (1924-2000) is known primarily for her large-scale portraits in acrylic. Gorelick described her work as "psychological portraiture," that depicted couples and families through an intimate and empathic lens.

Gorelick was born Shirley Fishman in Brooklyn, New York. Her education involved studying with Chaim Gross, Moses Soyer, and Raphael Soyer, and then with Serge Chermayeff at Brooklyn College where she earned her B. A. in 1944. Gorelick subsequently earned an M. A. at Teachers College, Columbia University, briefly attended the Hans Hofmann School of Art in Provincetown, Massachusetts, and also studied with Betty Holliday in Port Washington, Long Island. In 1944 Gorelick married Leonard Gorelick, a dentist with a passion for art and science.

Gorelick's early work was influenced by Cubism, Surrealism, and Abstract Expressionism, but she ultimately gravitated towards realistic, figurative portraits painted from photographs and direct observation. While working primarily in acrylic, she was also known for her silverpoint drawings and intaglio prints. Working with middle-aged couples and family groups repeatedly in the 1970s and 1980s, Gorelick's work explores the psychological state of her subjects as they directly engage the viewer.

In 1973, Gorelick was a founding member of Central Hall Gallery, a cooperative run by all women artists in Port Washington. She also had six solo exhibitions and participated in numerous group shows at SOHO 20, the second all-women artist-run exhibition space in New York City. She was one of thirteen women artists who collaborated on The Sister Chapel, painting a nine-foot portrait of Frida Kahlo for the installation which premiered at P.S. 1 in Long Island City in 1976.

Gorelick's work was widely exhibited, particularly in the 1970s and 1980s, and she is represented in the collections of the Minneapolis Institute of Art, the National Museum of Women in the Arts, Provincetown Art Association and Museum, the Baltimore Museum of Art, and the Brooklyn Museum, among others.

Gorelick died in Washington D.C. in 2000.

Provenance:

The collection was donated to the Archives of American Art in 2021 and 2022 by Jamie Gorelick, Shirley Gorelick's daughter.

Restrictions:

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

Rights:

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

Occupation:

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

Painters -- Washington (D.C.)  Search this

Portrait painters -- New York (State) -- New York  Search this

Portrait painters -- Washington (D.C.)  Search this

Topic:

Women painters  Search this

Women artists  Search this

Genre/Form:

Sketchbooks

Citation:

Shirley Gorelick papers, 1939-2008, 2016. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided in part by The Shirley Gorelick Foundation and the Walton Family Foundation.

Identifier:

AAA.goreshir

See more items in:

Shirley Gorelick papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw998fcf57a-8666-49f7-8cad-cc18eb68362f

EDAN-URL:

ead_collection:sova-aaa-goreshir

Creator:

Cox, Gardner, 1906-1988  Search this

Massachusetts Art Commission  Search this

Subject:

Forbes, Edward Waldo  Search this

Saint-Gaudens, Augustus  Search this

Shaw, Robert Gould  Search this

Morison, Samuel Eliot  Search this

Stevens, Austin  Search this

Driver, Phoebe Barnes  Search this

American Academy in Rome  Search this

Saint Botolph Club (Boston, Mass.)  Search this

Putnam & Cox, (Boston, Mass.)  Search this

Portraits (Firm: New York, N.Y.)  Search this

Museum of Fine Arts, Boston. School  Search this

Boston Arts Festival  Search this

Type:

Interviews

Sketchbooks

Sound recordings

Citation:

Gardner Cox papers, 1920-1995. Archives of American Art, Smithsonian Institution.

Topic:

Portrait painting -- 20th century -- Massachusetts  Search this

Politicians -- Portraits  Search this

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8156

(DSI-AAA_SIRISBib)210327

AAA_collcode_coxgard

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210327

Creator:

Alexander, John White, 1856-1915  Search this

Subject:

Abbey, Edwin Austin  Search this

Alexander, Elizabeth A.  Search this

Carnegie, Andrew  Search this

Chase, William Merritt  Search this

La Farge, John  Search this

James, Henry  Search this

Levy, Florence N. (Florence Nightingale)  Search this

Remington, Frederic  Search this

Millet, Francis Davis  Search this

Stevenson, Robert Louis  Search this

Whistler, James McNeill  Search this

Gibson, Charles Dana  Search this

MacDowell Club of New York  Search this

Type:

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Citation:

John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.

Topic:

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

Portrait painters -- New York (State) -- New York  Search this

Works of art  Search this

Portrait painting -- 20th century  Search this

Portrait painting -- 19th century  Search this

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

Portrait painting, American  Search this

Theme:

Sketches & Sketchbooks  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8637

(DSI-AAA_SIRISBib)210817

AAA_collcode_alexjohn

Theme:

Sketches & Sketchbooks

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210817

Creator:

Eakins, Thomas, 1844-1916  Search this

Subject:

Gérôme, Jean Léon  Search this

Fussell, Charles Lewis  Search this

Crowell, William J.  Search this

Crowell, Frances Eakins  Search this

Couture, Thomas  Search this

Wallace, J. Laurie (John Laurie)  Search this

Sartain, William  Search this

Richards, Frederick de Bourg  Search this

Hallowell, William R.  Search this

Place:

Paris (France) -- description and travel

Citation:

Thomas Eakins letters, 1866-1934. Archives of American Art, Smithsonian Institution.

Topic:

Painters -- Pennsylvania -- Philadelphia  Search this

Painting, American  Search this

Portrait painting, American  Search this

Portrait painting -- 19th century -- United States  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8854

(DSI-AAA_SIRISBib)211039

AAA_collcode_eakithom

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211039

Creator:

Page, William, 1811-1885  Search this

Subject:

Page, William  Search this

Page, Sophia Stevens  Search this

Olmstead, Mary  Search this

Olmstead, Bertha  Search this

O'Donovan, William Rudolph  Search this

Lowell, James Russell  Search this

Hicks, Thomas  Search this

Fenton, Rueben  Search this

Cushman, Charlotte  Search this

Curtis, George William  Search this

Briggs, Charles F. (Charles Frederick)  Search this

Beecher, Thomas Kinnicut  Search this

Tilton, Theodore  Search this

Wilmarth, Lemuel Everett  Search this

Stark, William  Search this

Sumner, Charles  Search this

Scranton, William Walker  Search this

Shaw, Francis George  Search this

Beecher, Henry Ward  Search this

Phillips, Wendell  Search this

Garrison, William Lloyd  Search this

Perry, E. W. (Enoch Wood)  Search this

National Academy of Design (U.S.)  Search this

Type:

Photographs

Sketches

Poems

Drawings

Diaries

Citation:

William Page and Page Family papers, 1815-1947, bulk 1843-1892. Archives of American Art, Smithsonian Institution.

Topic:

Works of art  Search this

Portrait painters -- New York (State) -- New York  Search this

Portrait painting -- 19th century -- New York (State) -- New York  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)8925

(DSI-AAA_SIRISBib)211111

AAA_collcode_pagewill

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211111

Creator:

Brooks, Romaine, 1874-1970  Search this

Subject:

Van Vechten, Carl  Search this

Gauthier-Villars, Louis  Search this

Breeskin, Adelyn Dohme  Search this

Dreyfus-Barney, Laura  Search this

Castelnou, Jean-Pierre  Search this

Mac'Avoy, Edouard  Search this

Brooks, Romaine  Search this

Lahovary, Janine  Search this

McClelland, Donald  Search this

Acten, Harold  Search this

Mariano, Nicky  Search this

Strozzi, Uberto  Search this

Bizardel, Yvon  Search this

Noailles, Charles, vicomte de  Search this

Barney, Natalie Clifford  Search this

Type:

Poems

Photographs

Scrapbooks

Manuscripts

Sound recordings

Diaries

Notes

Interviews

Citation:

Romaine Brooks papers, 1910-1973. Archives of American Art, Smithsonian Institution.

Topic:

World War, 1939-1945  Search this

Portrait painting  Search this

Women artists  Search this

Women painters  Search this

Artists' studios -- Photographs  Search this

Theme:

Women  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6290

(DSI-AAA_SIRISBib)220274

AAA_collcode_brooroma

Theme:

Women

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_220274