Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Access of diaries and appointment books required written permission.
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Funding for the processing of this collection was provided by the Leon Levy Foundation.
1 Microfilm reel (59 items on partial microfilm reel)
Scope and Contents:
The microfilm Frederick Warren Allen papers contain biographical sketches; lists of works; correspondence; and a school paper, "27 Tavern Road: The Italian Studio," by his granddaughter, Laurel Beetham, describing his studio. Also included are a scrapbook of clippings; printed material; and photographs of Allen, his family, and his works of art.
Biographical / Historical:
Frederick Warren Allen (1888-1961) was a sculptor and educator in Boston, Massachusetts. Allen was associated with the Boston School of artists and taught sculpture at the School of the Museum of Fine Arts, Boston.
Lent for microfilming by Agnes Allen, 1981.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
(includes letter about gift of F. D. Millet's art books and costumes to the academy, comments on sculptor fellows, "Study in Rome. Preliminary Information and Suggestions for Students in Sculpture, American Academy in Rome")
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. research center. Contact Reference Services for more information.
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.
The Howard W. and Jean Lipman papers measure 46.6 linear feet and span the years 1916 to 2000, with one brochure maintained in a research file dating to 1848. The bulk dates for the collection are 1932 to 1992. The papers primarily concern the art collecting activities and interests of the Lipmans which included modern American sculpture, American folk art, and other contemporary American paintings. Found within the papers are correspondence files, notes and printed material that served as research and reference material, along with financial material. The collection also contains writings, notes, and editorial material used by Jean Lipman in her dual roles as an editor for Art in America magazine and as a respected art critic and author.
Scope and Content Note:
The Howard W. and Jean Lipman papers measure 46.6 linear feet and span the years 1916 to 2000. A copy of an 1848 brochure, retained by Jean Lipman in her research and writings files accounts for the early span date listed in the title of the collection. The bulk dates for the collection are 1932 to 1992. The records include correspondence, notes and printed material that served as research and reference material, along with some financial material that documents the art collecting activities and interests of the Lipmans. The collection also contains writing and editorial material used by Jean Lipman in her dual roles as an editor for Art in America magazine and as a respected author.
The Personal Files describe the social activities and associations of the Lipmans and include biographical information, personal and family correspondence, gift giving activities, the art career of Jean Lipman, and relationships maintained by the Lipmans with various art organizations.
The Howard and Jean Lipman Art Collection Files describe the art collecting activities and interests of the Lipmans throughout their lifetime. The General Files section consists of reference files on art organizations and galleries with whom the Lipmans maintained relationships. Also included are particular topics or exhibitions of interest to the Lipmans. The Sculptors and Painters of Interest section served as reference files about the activities of artists in whom the Lipmans were interested and whose works they owned, or considered owning. The Folk Art Collection section documents the collecting and purchasing activities of the Lipmans as they amassed and then subsequently sold their two significant folk art collections.
The Artists Files document the friendship and projects that developed between the Lipmans and three major American artists: Alexander Calder, Louise Nevelson, and David Smith. Of special interest to researchers will be some original Calder artwork mixed into the correspondence between the Lipmans and Calder, as well as drawings, sketches, prints, and posters found in the associated oversize folder. Also found in the Calder subseries are some proofs from Calder's Circus, edited by Jean Lipman.
The Research and Writing Files is divided into five sections dealing with research and writing projects undertaken by Jean Lipman. The first three sections deal with biographical projects that resulted in books or articles about three significant American primitive artists: Jurgan Frederick Huge, Rufus Porter, and Samuel Wood Gaylor. The fourth section deals with writing projects that resulted in the publication of several generalized books on the topic of American folk art. The final section consists of materials associated with the published articles and other authored works of Jean Lipman on a variety of American art topics.
The Art in America Editorial Files consists of editorial material maintained by Jean Lipman during her tenure (1941-1971) as editor of Art in America. The Financial Files reflect the early financial activities of the magazine during the brief period when the Lipmans owned it.
During the period that Jean Lipman served as editor, a variety of distinguished art historians, artists, architects, novelists, and poets contributed articles, columns, or artwork to the magazine. A sampling of correspondents that can be found in the general correspondence of this series include: Joseph Albers, Marcel DuChamp, John Dos Passos, Nelson Rockefeller, Charles Sheeler, and Andrew Wyeth. The General Correspondence Files also document the two subsequent changes of ownership and the growth of subscribers that occurred during the period of Lipman's editorship.
Editorial material related to individual magazine issues is found within this series, as well as information pertaining to the innovative advertising and special projects undertaken by the magazine as it sought to expand its readership and prestige. The Art in America series also chronicles the changes at the magazine that led to Lipman's resignation as editor in 1971.
The collection is arranged as five series. Arrangement is generally alphabetical by subject heading or type of material. Items within folders are arranged chronologically by year.
Series 1: Personal Files (Boxes 1-3; 3 linear ft.)
Series 2: Howard and Jean Lipman Art Collection (Boxes 3-15; 12 linear ft.)
Series 3: Artists Files (Boxes 15-18, 46-47, OV 50-52; 3.6 linear ft.)
Series 4: Research and Writings Files (Boxes 18-28, 48; OV 50, 53; 10.3 linear ft.)
Series 5: -- Art in America -- Editorial Files (Boxes 28-45; 49, OV 50; 17.3 linear ft.)
Howard W. and Jean Lipman shared a lifetime sponsorship of art. The Lipmans' personal art collection, acquired throughout their marriage, was eventually divided into three separate parts: The Howard W. Lipman Foundation collection that was donated and merged into the modern sculpture holdings of the Whitney Museum of American Art; an American folk art collection that was later sold through two separate auctions in 1950 and 1981 and is now part of the holdings of the New York Historical Association and the Museum of American Folk Art; and a personal collection that was retained and displayed in the Lipmans' various residences in Connecticut, New York, and Arizona.
Married in 1933, the Lipmans began jointly collecting American folk art at a time when few art museums or institutions recognized the historical and artistic value of early primitive, self-taught artists. By the late 1940s, the Lipmans had amassed a large, significant collection that was highly regarded for its quality and scope.
During the early 1950s, the Lipmans also began actively collecting sculpture, focusing upon American contemporary sculptors. In the late 1950s they created the Howard W. Lipman Foundation, with an initial inventory of forty sculptures and three paintings by contemporary American artists. The purpose of the foundation was to acquire significant works by emerging American sculptors and to make them available through loans or donations to various art institutions.
In 1965 the Howard W. Lipman Foundation approached the Whitney Museum of American Art with a proposal to coordinate the foundation's efforts and goals with the museum's contemporary sculpture program. The foundation offered a majority of its growing collection of sculpture and acquisition funds towards the development of the evolving permanent collection of the Whitney Museum of American Art. Thereafter, the Howard W. Lipman Foundation served in an advisory role to the museum's acquisitions, and the foundation supplied the necessary funds to acquire works of sculpture desired by the Whitney for its permanent collection.
In addition to their folk art and foundation collections, the Lipmans also acquired important works by Alexander Calder, Louise Nevelson, and David Smith, through their lifelong association and friendship with these artists. Many of these pieces were retained in the Lipmans' personal collection throughout their lives.
Individually the Lipmans also expressed their interest in art through various means. Jean Lipman served as editor of Art in America magazine from 1940 to 1970, which provided her with continuous exposure to emerging artists and trends in American art. Jean Lipman's abiding interest in folk and contemporary art was also expressed through her voluminous writings. Throughout her life she wrote and edited highly acclaimed books and articles about major themes and artists in American art, and she was a recognized folk art authority and connoisseur. Some of her best known works include: The Flowering of American Folk Art; Rufus Porter, Yankee Wall Painter; and Calder's Universe.
Jean Lipman, born in 1909, was also an amateur artist in her later years, creating paintings and assemblages that often dealt with the theme of "art about art." She was represented by a gallery in New York City, as well as one in Arizona, and she had several solo exhibitions.
Howard W. Lipman, born in 1905, showed an early interest in art. By the mid 1920s he had gone to Paris to study painting, but Lipman found himself more attracted to sculpture and he began studying with a German wood carver. In the late 1930s, after returning to the New York City area, Lipman began stone carving with the Clay Club on Eighth Street, adjacent to the Whitney Museum of American Art. He was represented by a New York City gallery and participated in local exhibitions.
Deciding that his sculptural talent was not sufficient for professional pursuit, Lipman began his business career as a stockbroker in Neuberger and Berman, a prominent New York investment management firm that he helped to establish in 1939. Lipman subsequently channeled his artistic endeavors toward collecting and supporting the work of established and emerging American sculptors. He also served on the boards of both the Whitney Museum of American Art and the Archives of American Art.
Howard and Jean Lipman maintained long and close relationships with three prominent American artists: Alexander Calder, Louise Nevelson, and David Smith. Jean Lipman, in particular, was involved in promoting and documenting Calder and his works through numerous articles, books, and exhibitions that she helped produce as editor of the magazine Art in America and publications director for the Whitney Museum of American Art. Calder's Universe, which she edited to accompany a major Whitney Museum of American Art retrospective exhibition of his works in 1976, was considered by Calder to be his "official" biography. The book went to fourteen printings, one of the largest ever, in the history of art books.
The Lipmans were also great admirers of Louise Nevelson and her work. They purchased her artwork for their own collection, as well as donating pieces to various art museums and institutions. Jean Lipman wrote articles about Nevelson and edited the book, Nevelson's World.
David Smith and the Lipmans established a friendship in the late 1950s that lasted until Smith's untimely death in May 1965. The Lipmans purchased several Smith sculptures, which they placed on the grounds of their Wilton, Connecticut, home. They also purchased Smith works for donation to public institutions, such as the Lincoln Center for the Performing Arts.
The Lipmans retired to Carefree, Arizona, a private residential community renowned for its sensitivity to ecologically-based, architectural design. Howard Lipman died in 1992. Jean Lipman remained active in art and community affairs until her death in 1998.
The papers of Howard and Jean Lipman were initially donated to the Archives of American Art by Howard and Jean Lipman from 1965-1989. Subsequent additions to the original gift were made by Jean Lipman in 1998 and by Peter and Beverly Lipman in 2001. Several small portions of these early accessions were microfilmed.
An associated gift that was originally accessioned as the Art in America Magazine Records was made by Howard and Jean Lipman from 1970-1973. This group, which largely consisted of Jean Lipman's editorial files from her years as editor of the magazine, was subsequently merged with the Howard W. and Jean Lipman records in 2004.
The collection is open for research. Use requires an appointment.
Art -- Collectors and collecting -- New York (State) -- New York Search this
The Lawrence 'Larry' James Beck papers, located in the Cultural Resource Center of the National Museum of the American Indian, contain biographical materials, sculpture portfolios, art shows, notes, sketches and drawings, publications, correspondence and visual material including photos, slides and negatives of Larry's art.
Scope and Contents:
The Larry Beck papers contains materials that span his career as an artist. The bulk of the material in this collection dates from the late 1960's until his death in 1994 and includes, but is not limited to, biographical materials, sculpture portfolios, correspondence relating to his artwork and his family, sketches and drawings as well as visual materials of Beck's artwork which including prints, slides and negatives. Additionally, publications regarding subjects that interested Beck are also included in this collection.
The Lawrence 'Larry' James Beck Papers are arranged into seven series:
Series 1: Biographical and Personal, (undated, 1938-1994)
Series 2: Correspondence, (undated, 1966-1994)
Series 3: Sculptures and Shows, (undated, 1966-1994)
Series 4: Sketches, Drawings, Notes and Ideas, (undated)
Series 5: Publications and Graphic Materials (undated, 1966-1995)
Series 6: Miscellaneous Material, (undated)
Series 7: Visual Material, contains photographs, negatives and slides
Biographical / Historical:
Lawrence 'Larry' James Beck was born in Seattle, Washington on May 20, 1938. Beck's father was American and his mother was Norwegian and Yup'ik from Alaska. Larry was raised in Seattle and in 1956 graduated from Ballard High School. He then attended college at the University of Washington from1957 to 1959, where he first studied engineering. However, he decided that art was more in his future so between 1960-1961 he attended the Burnley School of Professional Art in Seattle, now known as The Art Institute of Seattle. In 1962 Larry was given the opportunity to attend the University of Arizona's Guadalajara Summer School and study art abroad. Upon his return in 1962, he resumed his studies at The University of Washington and in 1964 he earned a B.A. in painting and a M.F.A. in 1965. While at UW, Larry was taught by George Tsutakawa and Everett Du Pen and visiting New York artist Gabriel Kohn. His art reflects the influences of sculptor David Smith, Mark di Suvero and Inuit artist Gariel Kohn.
During the 1966-1967 academic year, Larry was a visiting instructor of sculpture at the University of Oregon, in Eugene. During this time Larry participated in an exhibit called the Great Northwest Sausage Company Art show. This show included artists such as Morris Yarowsky, Dan Solomon, Gertrude (Trudie) Pacific-Beck, David Cotter, John Haugse and Marcella Rawlinson. The years between 1967-1968 were spent at the University of Southampton, England as a Fine Arts Fellow. His wife at the time, Trudie also accompanied him and also studied art while in England. When Larry and Trudie returned to the States, they settled in Skagit Valley Washington.
During the late 1960s and 1970s, Larry focused on his large scale, abstract sculptures and established his reputation as a sculpture. Larry's early works were comprised of found metals and objects assembled in a lyrical but humorous manner. Larry also was apart of the Shazam Society with Tom Robbins among others, which produced performances and happenings. During 1975-1980, he installed projects for Golden Gardens Park in Seattle, Highline Community College and Boeing (King County Airport). He also worked on a piece for the Occidental Park site in Seattle, but due to circumstances of the city it was never installed.
Although Larry was not raised around his ancestral homelands, like his Mother, in the mid 1970s Larry visited the Alaskan coast. It was then that he realized he understood the Yup'ik culture. In 1973 Larry started to produce a new series of pieces called "Inukshuk", which is Inuit for sculpture presence. This term was also used for three major commissions that later followed. Larry continued to use Inuit terminology in his work. This was the first sign that Larry started to embrace his multicultural heritage in his artwork. Larry experimented with making bronze and aluminum small castings of traditional Inuit masks, but he felt uneasy that these masks represented a complete contradiction to his western art training.
After the 1980 install of the Boeing sculpture, Beck experienced what he would call his sculpture career crisis. He became disappointed with public art. This is when Larry received his calling to start working on his abstract Inuit Inua (spirit) masks. Larry embraced the idea of using the ancestral ways of his Mother's people of finding natural objects and turning them into masks or art pieces. Larry utilized this method and found contemporary objects within junkyards and hardware stores to create his contemporary Inua masks. From this time on, Larry focused the remaining years of his life working on Inua masks. He participated in shows at art galleries and loaned artwork out for traveling exhibits that where exhibited from the United Nations in Switzerland to all over the United States, including his ancestral homelands of Alaska. Also from the mid 1980s till the end of his life in 1994, he spent more time with his children.
On March 27th 1994, Larry died of a heart attack in his home in Washington. His artwork still lives on today in many museums and private collections. He turned Native American Art into something that kept historical cultural ties while also embracing a contemporary look.
These research materials were donated to NMAI in March 2009 by Nikolai Beck and Alex Beck.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: email@example.com).
Single photocopies may be made for research purposes. Copyright is vested with Nikolai Beck and Alex Beck and will not transfer to the National Museum of the American Indian until 2018. Researchers seeking publication use, must obtain permission directly from the donors by contacting NMAI Archives (firstname.lastname@example.org).
Metropolitan Museum of Art study collection of American sculpture photographs
Metropolitan Museum of Art (New York, N.Y.) Search this
21.3 Linear feet ((51 document boxes))
circa 1910-1940, 1950s
Originally assembled by the Metropolitan Museum of Art for study purposes, this collection is comprised of 2,790 black-and-white photographs documenting the work of 250 sculptors.
Scope and Contents:
The bulk of the collection was assembled by the Metropolitan Museum of Art starting around 1910 and continuing up through 1940, with a few additions added in the 1950s. The images were assembled for study purposes for the Museum's American Department. Included are works from in-house Met staff photographers, as well as photographs acquired from outside sources, including works by commercial photographers and publishers (notably A. B. Bogart, Louis H. Dreyer, Detroit Publishing Company, Joseph Hawkes, and De Witt Ward). Also included are photographs assembled by the Carnegie Corporation of New York for the study of American art and presented to the Metropolitan Museum of Art in 1930.
Among the artists well represented in the collection are: Herbert Adams, Robert Aitken, Alexander Archipenko, George Grey Barnard, Chester Beach, Karl Bitter, Solon H. Borglum, Alexander Stirling Calder, Gaetano Cecere, Henry Clews, Jr., Cyrus Edwin Dallin, Jo Davidson, John Donoghue, Ulric Henry Ellerhusen, Sir Jacob Epstein, Rudolph Evans, John Flannagan, James Earle Fraser, Daniel Chester French, Harriet Whitney Frishmuth, Emil Fuchs, John Gregory, Frances Grimes, Anna Vaughn Hyatt Huntington, Anna Coleman Ladd, Evelyn Beatrice Longman, Augustus Lukeman, Frederick MacMonnies, Hermon Atkins MacNeil, Paul Manship, Edward McCartan, Albin Polasek, Bela Lyon Pratt, Richard H. Recchia, Frederic Remington, Frederick George Richard Roth, Frederic Wellington Ruckstull, William Rush, Augustus Saint-Gaudens, Lorado Zadoc Taft, and Adolph A. Weinman.
Of note, the collection includes a number of rare early photographs of outdoor sculpture and public monuments, including images of the Mount Rushmore National Memorial by Gutzon Borglum, South Dakota, the Emancipation Monument by Thomas Ball, Washington, D.C., the Dewey Monument by Robert Aitken in San Francisco, George Washington by Horatio Greenough in Washington, D.C., and the William Earl Dodge Memorial by John Quincy Adams Ward shown in its original setting in Herald Square, New York City, before it was moved to Bryant Park in 1941.
In addition, the collection has some portraits of artists posing with their sculptures, including Robert Aitken, Gutzon Borglum, Solon Borglum, John Donoghue, Sally James Farnham, Daniel Chester French, Anna Hyatt Huntington, Albin Polasek, Richard Recchia, and Frederic Wellington Ruckstull; and some exhibition installation views, including works by Emil Fuchs exhibited at Fine Arts Building and Cartier Gallery in New York and works by Paul Manship exhibited at the Jessup Memorial Library in Bar Harbor, Maine.
The photographs are arranged alphabetically by the artist's last name, with unidentified artists at the end.
Biographical / Historical:
The Metropolitan Museum of Art was founded on April 13, 1870, "to be located in the City of New York, for the purpose of establishing and maintaining in said city a Museum and library of art, of encouraging and developing the study of the fine arts, and the application of arts to manufacture and practical life, of advancing the general knowledge of kindred subjects, and, to that end, of furnishing popular instruction."
The Metropolitan Museum of Art collects, studies, conserves, and presents significant works of art across all times and cultures in order to connect people to creativity, knowledge, and ideas.
Received from the Metropolitan Museum of Art as a gift. The initial batch of 2,612 prints was received in 2005. 178 additional photographs were received in 2011.
Open to researchers by appointment. Contact Photograph Archives, Smithsonian American Art Museum by email: email@example.com.
The photographs are owned by the Smithsonian American Art Museum and requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as the photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Correspondence, photographs, writings, a scrapbook, and printed materials.
REELS D30 and D33: Correspondence, clippings, and photographs. Included are letters from George William Curtis to Kellogg, October 1846-January 1847, describing Rome (incorrectly attributed to George Washington Parke Custis on microfilm); a letter from Elisha Whittlesey to George Washington Parke Custis, October 23, 1844, commending Miner Kellogg to him; and correspondence dealing with Kellogg's activities as a promoter of Hiram Powers' statue "The Greek Slave" in the mid-nineteenth century.
Correspondents include: Park Benjamin, Sir Stratford Canning, Luigi P. Cesnola, Lewis G. Clark, Edward Everett, Charles E.A. Gayarré, Henry D. Gilpin, Rufus W. Griswold, Reverdy Johnson, Phillip Kearny, Caroline M. Kirkland, Lenox Library, William C. MacReady, Brinsley Marlay, George P. Marsh, National Academy of Design, Theophilus Parsons, Joel R. Poinsett, Vinnie Ream Hoxie, Samuel H. Russell, Mrs. Winfield Scott, Ellen E. Sherman, John Slidell, Lady Virginia Somers (godmother of Kellogg's daughter Virginia), Bayard Taylor, Osmond Tiffany, Henry T. Tuckerman, W. I. Wall, and R. Wickliffe, Jr.
REEL 986: Scrapbook of clippings, collected by Kellogg from New York, Washington, Baltimore and Ohio newspapers. Some clippings were written by Kellogg, including stories about his own paintings, advertisements for his patent canvas stretcher, reports by him on his travel in foreign countries, and article on Hiram Powers, the opening of the Metropolitan Museum of Art (1880), Jane Eyre, Emanuel Swedenborg, the Cleveland Academy of Art, art unions, and fireproof buildings. Also included is a copy of a paper, "Fine arts in the United States" given by Kellogg in 1869 to the American Union Academy, Washington, D.C., and a booklet, "Mr. Miner K. Kellogg to his friends," Paris, 1858, describing his relationship with Powers.
Biographical / Historical:
Portrait painter, miniature painter, and orientalist; New York, N.Y. and Cincinnati, Ohio.
Material on reels D30 and D33 purchased 1956 from an unknown source. Material on reel 986 transfered from Smithsonian Institution Archives, 1974.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Miniature painters -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Portrait painting -- New York (State) -- New York Search this
Correspondence regarding the St. Louis Exposition, the World's Columbian Exposition, the South Carolina Interstate and West Indian Exposition, statuary in New York City and the Library of Congress, the Washington statue in Newburyport, Mass. Letters from Robert Cushing in Italy pertain to the supervision of the execution of Ward's marble statuary group in Carrara. Correspondents include Herbert Adams, Thomas Gold Appleton, Karl Bitter, Gutzon Borglum, Daniel Chester French, Robert Underwood Johnson, Thomas Addison Richards, Edward Clark Potter, Alexander E. Orr, R. S. Chilton, Paul Dana, F. Wellington Ruckstuhll, Charles N. Thomas, C. A. Herber and Ward's wife.
Biographical / Historical:
Sculptor; New York, N.Y.
Lent 1973 by New York Historical Society.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.