Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information
Two letters of introduction from Forbes Watson; 2 letters from Alfred Stieglitz relating to Korff's review of an exhibition by Georgia O'Keeffe, 1938; a scrapbook of her articles and reviews; and reference catalogs and clippings filed under the letter "A."
Biographical / Historical:
Art critic; Washington, D.C. Wrote for The Washington Post under the byline Alice Graeme. Korff also was an administrator for the New Deal's short-lived Public Works of Art Project headed by Forbes Watson.
Provenance:
Donated 1992 by Mrs. William H. Boardman, Jr., daughter of Alice Graeme Korff.
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.
(includes: Watrous, Harry W., 1925; Watson, Forbes, 1926)
Collection Restrictions:
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
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:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
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 audiovisual recordings 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:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the 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. Fragile original scrapbooks are closed to researchers.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.
Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.
Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.
Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:
Missing Title
Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)
Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)
Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)
Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)
Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)
Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)
Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)
Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)
Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)
Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)
Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)
Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.
Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.
In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.
The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.
During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.
In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.
Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.
In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.
In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.
Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
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 access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York Search this
Philanthropists -- New York (State) -- New York Search this
Topic:
Art patrons -- New York (State) -- New York Search this
Whitney, Gertrude Vanderbilt, 1875-1942 Search this
Container:
Box 8, Folder 26
Type:
Archival materials
Date:
circa 1919-1936
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 access copy requires advance notice. 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:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). 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
This series consists of letters exchanged between Lazzari, family members, and colleagues. Over one hundred letters from the Federal Works Agency and the Treasury Department Section of Painting and Sculpture concern post office murals for towns in Florida, New Jersey, and North Carolina. Five letters from the National Aeronautics and Space Administration contain 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon. Lazzari also received at least one letter each from Jacqueline Kennedy, Duncan Phillips, Eleanor Roosevelt, industrialist John Rust, and socialist Norman Thomas.
See Appendix for a list of selected correspondents in Series 2.
Arrangement note:
Correspondence is arranged chronologically.
Appendix: Selected Correspondents in Series 2:
Aguilera, Francisco: undated (1 letter)
Albergo Saturnia, Rome: 1928 (1 letter)
Alberts: Russell Alberts-Laura Langdon Antiques: undated (1 letter)
Alexander Gallery: undated (1 letter)
Allied Publications, Inc.: 1965 (1 letter)
Alterman, Selma: undated (1 letter)
Ambasciata d'Italia: 1950-1973 (3 letters)
Ambasciatore d'Italia: undated and 1971 (2 letters)
America-Italy Society: 1956 (1 letter)
American Academy in Rome: 1955 (2 letters)
American Artists Professional League: 1949-1955 (3 letters)
American Battle Monuments Commission: 1959 (1 letter)
American Commission for Cultural Exchange with Italy (Fulbright grant): 1950-1954 (2 letters)
American Federation of Arts: 1951-1956 (2 letters)
American Red Cross: 1943-1945 (6 letters)
American University: 1947-1967 (5 letters)
Amici, Alfredo: 1948-1959 (6 letters)
Amministrazione Erdi M.se Saverio Patrizi: 1969 (2 letters)
Andori, Adolfo: 1913-1916 (3 letters)
Anderson, Wayne V.: 1956 (1 letter)
Andrade, Victor: undated (1 letter)
Angelelli, Augusta: 1972 (1 letter)
Angiolillo, Giuseppe: 1967-1972 (9 letters)
Anson, Cherrill: 1998 (1 letter)
Appleby, J. Scott: 1952-1961 (9 letters); see Life Insurance Company of Georgia
Aquil, Preta: 1921 (1 letter)
Architectural League of New York: 1955 (3 letters)
Aristide, Zio (?): 1926 (1 letter)
Arndal, Kersten: 1970-1977 (2 letters)
Art Direction -- magazine: 1956 (1 letter)
Art in Federal Buildings, Inc.: 1943 (1 letter)
Art Institute of Chicago: 1944-1956 (11 letters)
Artists Equity Association: undated and 1949-1972 (7 letters)
Artists for Victory: 1942-1943 (7 letters including a prospectus for "America in the War" exhibition)
Conant, Howard (New York University): 1956 (1 letter)
Connolley, Robert Emmet: 1947-1950 (8 letters)
Console Generale d'Italia: 1965 (1 letter)
Constantino, C.: 1967 (1 letter)
Cook, Elizabeth: [1946] (1 letter)
Cooke: Hereward Lester Cooke Foundation: 1974-1975 (3 letters); see National Aeronautics and Space Administration; see National Gallery of Art
Cooper, Alice J.: 1927 (1 letter)
Corcoran Gallery of Art: undated and 1951-1981 (37 letters)
Corsi, Emma and W. Edward: 1928 (1 letter)
Cosgrove, Jessica (Mrs. John O'Hara Cosgrove): 1928-1930 (22 letters)
Cosgrove, John O'Hara (editor of -- New York World): -- undated and 1927-1929 (7 letters)
Costintin, Celestino and Emilia: 1916-1971 (6 letters)
Cotzia, Pasquale: 1966-1968 (2 letters)
Coughlin, Clarence John: 1948 (1 letter)
Crimi: undated (1 letter)
Crosby, Caresse (Crosby Gallery of Modern Art): undated and 1945-1969 (14 letters)
Crossley, Kay A.: 1966 (1 letter)
Cullen, Amelia: undated (1 letter)
Cusumono, Stefano: 1947-1951 (3 letters)
Daloni, Edith B.: 1928 (1 letter)
Damer, Veffarghi: 1919 (1 letter)
Damiani, Angelo: 1921 (1 letter)
Dane, C. K.: 1965 (1 letter)
Dean, Edward: 1940 (1 letter)
Debs: Eugene V. Debs Foundation: 1965-1966 (3 letters including 6 photographs with Norman Thomas); see United Auto Workers
de Chetelat, Mr.: mentioned in letter dated 1928
de Chirico, Giorgio: mentioned in undated invitation from Ambasciatore d'Italia
DeLano, Agnes: undated (1 letter)
De Medio, Americo: 1963-1976 (32 letters)
De Medio, Vincenzo: undated and 1970-1977 (3 letters)
Demiddi, Alberto: undated and 1972 (3 letters)
De Mont, Nany and Eugene: undated (1 letter)
Dernay, Eugene: 1945-1959 (4 letters)
Design in Steel Award Program: 1972 (1 letter)
Dictionary of International Biography: 1974 (1 letter)
Diller, Burgoyne: see Federal Art Project
Dipanfilo, Pio: 1949-1968 (10 letters)
Di Raimondo, Vicenzo: 1920-1928 (7 letters)
District of Columbia Board of Commissioners: 1959 (1 letter)
District of Columbia Department of Public Welfare: 1958 (1 letter)
District of Columbia Juvenile Court: 1964 (1 letter)
District of Columbia Recreation Board: 1963 (1 letter)
Dole (?), Louis: 1923 (1 letter)
Dollinger, Josef: undated (1 letter)
Donaldson, Leota L.: undated (2 letters)
Donaldson, Renee: undated (1 letter)
Douglas, Paul F.: 1951 (1 letter)
Dretzin, S. C.: 1950 (1 letter)
Draper, Warren A.: 1944 (1 letter)
Dumbarton College: 1949-1951 (3 letters)
Duncan and Duncan Chinese Shop: 1964 (1 letter)
Dunham, Dr. G. C.: 1944 (1 letter re: portrait of Dr. Sawyer)
Duproix, Eunice: 1928 (1 letter)
Durbin, Jack: 1960 (1 letter)
Editions du Griffon, Neuchatel, Suisse: 1964 (3 letters)
Edsor, Mary: 1928 (1 letter)
Elenbrock, Gretel: 1927 (3 letters)
Elkins: Stella Elkins Tyler School of Fine Arts of Temple University: 1956 (1 letter)
Eng, Ernest: 1959 (1 letter)
Ernesto Desideri: 1915 (3 letters)
Evening Star -- newspaper, Washington, D.C.: 1957 (1 letter)
Farmers Educational and Cooperative Union: 1944 (1 letter)
Fasola, Roberto: 1948-1949 (2 letters)
Federal Art Project: 1938-1939 (4 letters)
Federal Works Agency, Public Buildings Administration: 1940-1947 (70 letters re: murals for the Brevard, N.C. post office, the North Bergen, N.J. post office, and the Jasper, Florida post office, including a contract, 2 photographs, and 2 sketches for a mural)
Federal Works Agency, Work Projects Administration: 1941-1942 (2 letters)
Fellowship of Reconciliation and War Resisters League: [1945] (1 letter)
Ferargil Gallery: 1941 (1 letter)
Ferreri, Elena: 1938 (1 letter)
Figoullo, Adriano: 1912 (1 letter)
Fiore, Ilario and Titta: 1966-1967 (5 letters)
Fitzwater, Aldace: 1950 (1 letter)
Florentine Gallery: 1956 (4 letters)
Fogle, Bruce: 1927 (1 letter)
Food and Agriculture Organization of the United Nations: 1956 (1 letter)
Force, Mrs.: undated (1 letter)
Foreign Service of the United States of America: 1950 (3 letters)
Foresti, Arnaldo: 1948-1949 (2 letters)
Fortas, Abe: 1956 (1 letter)
Fortune -- magazine: 1944-1956 (2 letters)
Francis, Emily A.: 1951 (3 letters)
Franco, Johan: 1966 (2 letters)
Frankel, Samuel: undated (1 letter)
Freeman: Carl M. Freeman Associates, Inc.: 1963 (1 letter)
Frisine, Robert: 1967 (1 letter)
Frost, Phillip: 1981 (1 letter)
Fujita, Mr.: 1957 (1 letter)
Fulbright grant: see American Commission for Cultural Exchange with Italy
Fuller, Eve Alsman (Miami, Fl. post office): 1938 (1 letter)
Gabetti: undated (1 letter)
Galarza, Ernesto and Mae: (National Farm Labor Union; National Agricultural Workers Union): undated and 1944-1978 (27 letters); see Landon School for Boys; see Perkins, Milo
Galerie Internationale: 1965 (1 letter)
Galerie Schindler: undated and 1965-1972 (12 letters)
Gallaudet College: 1963-1970 (14 letters, including a contract)
Gallenga: 1951 (1 letter)
Gaspari, Mario P.: 1966 (1 letter)
Georgetown University Fine Arts Club: 1960 (1 letter)
George Washington University: 1965 (1 letter)
Giovannetti, Alberto: 1966 (1 letter)
Giovanni, Sebastiani: 1921 (1 letter)
Giricosnelli, Emilio: 1918 (1 letter)
Gobbi, Adolfo: 1928 (1 letter)
Goldberg, Dorothy and Arthur: 1964-1965 (3 letters)
Goldsmith, Alberto R.: 1947-1968 (3 letters)
Gonzales, Angelino: 1951-1975 (11 letters)
Gotham Book Mart: 1968 (1 letter)
Graham, John: 1948 (1 letter)
Granati, Pasquale: 1918 (1 letter)
Grand Central Art Galleries: 1956 (1 letter)
Grant, Blanche C.: undated (1 letter)
Grebanier, Barnard: 1961 (1 letter)
Greene, Hope Margaret: 1926-[1927] (2 letters)
Gualdi, Luigi: 1947-1949 (11 letters)
Guarino, A.: undated letters to Mabel McMahon and Guiolitta Sartori
Guggenheim: John Simon Guggenheim Memorial Foundation: 1937-1971 (5 letters)
Guggenheim: Solomon R. Guggenheim Museum: 1956-1960 (3 letters)
Gutheim, Frederick: 1956 (1 letter)
Haarlem House, Inc.: 1926 (1 letter)
Hahn, Rosemarie E.: 1961 (1 letter)
Halle, Kay: 1972 (1 letter)
Hammerle, Brooke: 1966 (1 letter)
Hansen, Jane: 1954 (1 letter)
Hardman, Virginia: undated (1 letter)
Harrison & Abramovitz, Architects: 1956 (1 letter)
Harrison, Charles H.: 1949 (1 letter)
Hart, Earl: mentioned in an undated letter
Hartley, Bettina: undated (1 letter)
Hartman Galleries, Inc.: 1973 (1 letter)
Hayward: City of Hayward, California: 1965 (1 letter)
Health, Education, and Welfare Employees' Association: 1962 (1 letter)
Hechinger, June: undated (1 letter)
Heilbron, Edna: 1972 (1 letter)
Heinemann, Mark: undated (1 letter)
Herzbrunn, Josef: 1949 (1 letter)
Heywood, Carmen: 1948 (1 letter)
Hollander, Cornelia: undated (1 letter)
Holvey, Sam: undated (1 letter)
Holy See: Permanent Observer of the Holy See: 1966 (1 letter)
Hom Gallery: 1972 (1 letter)
Horrocks, E. Joan: 1971 (1 letter)
Hotel Beau Site, Rome: 1928 (1 letter)
Hotel de la Ville, Rome: 1928 (1 letter)
Hotel Hassler, Rome: 1928 (1 letter)
Hotel Pension Alexandra, Rome: 1928 (1 letter)
Hotel Windsor, Rome: 1928 (1 letter)
Hough, Edith Louise: 1952 (1 letter)
Illinois State Historical Library: 1965 (1 letter)
Il Messaggero: 1928 (1 letter)
Immigration and Naturalization Service: 1976 (1 letter)
Institute for International Education: 1963 (1 letter)
Institute for the Arts of the Archdiocese of Washington: 1978 (2 letters)
Institute of Contemporary Art: 1956 (2 letters)
Institute of Gerontology: 1970 (1 letter)
International Directory of Arts: 1982 (1 letter)
Isherwood, Christopher: undated (1 letter)
Istituzione Maddalena Aulina: 1966 (1 letter)
Jacometti, Nesto: 1972 (1 letter)
Jaffe, Norman: 1964 (1 letter)
Janus, Virginia: 1929 (2 letters)
Jelleff: Frank R. Jelleff, Inc.: 1949 (1 letter)
Jennoff?, Peter L.: undated (1 letter)
Jewish Social Service Agency: 1967 (1 letter)
Johnston, L. R.: 1932 (2 letters)
Jones, Dorothea and Stuart E.: 1955 (3 letters)
Jones, George Lewis: 1961 (1 letter)
Jopp, Fred Gilman: 1936 (1 letter)
Josephy, Diane ( -- Time): -- 1968 (1 letter)
Junior Council of the Museum of Modern Art: 1956-1960 (2 letters)
Jurin, Benjamin M.: undated (1 letter)
Kagy, Virginia and Sheffield: 1948 (1 letter)
Kahles, Jessie: 1940-1948 (3 letters)
Kennedy, Jacqueline: May 19, 1960
Letters from White House Social Secretary: 1961-1963 (5 letters)
Kerensky, Alexander: 1965 (1 letter)
King Features Syndicate, Inc.: 1943 (1 letter)
King, Marion: 1952 (1 letter)
King, Rufus: 1975 (1 letter)
Kneifel, Mr.: 1956 (1 letter from Lazzari)
Kramer, Herbert (Congregazione del Preziosissimo Sangue): 1950 (1 letter)
Krishnamurti, Jack: 1959 (1 letter)
Kurzland, Toby: 1991 (1 letter)
La Follia: 1926 (1 letter)
La Galleria: 1972 (1 letter)
Landon School for Boys: 1944 (1 letter re: Ernesto Galarza)
Landu, Consuelo: 1948 (1 letter)
Lanier, Fanita: see Ruffiner, Willis E.
La Revue Moderne: 1961 (3 letters)
La Rocca, Principessa de: 1968 (1 letter)
Latif, Bilkeer: undated (1 letter)
Law, L. S.: 1932 (2 letters of recommendation for Lazzari)
Lawton, Thomas: 1974 (1 letter)
Lazzari, Attilio: 1922 (1 letter)
Lazzari, (Grace) Elizabeth Paine: undated and 1920-1951 (69 letters)
Letters from Pietro to Elizabeth: 1928-1929 (52 letters)
Lazzari, Evelyn Cohen: undated and 1948-1965 (6 letters)
Letters from Pietro to Evelyn: undated and 1932-1966 (49 letters, including one with a photograph of friends)
Lazzari, Fernanda (sister) and Vittoria: 1915-1949 (11 letters)
Lazzari, Leno: 1918-1929 (2 letters)
Lebanon: Embassy of Lebanon, Washington: 1956 (1 letter)
Lee, Amy: Nov 01, 1974 (letter from Lazzari); 1975 (1 letter)
Lee, Dal: 1954 (1 letter)
Lee, Pearl: undated (1 letter)
Levy, Sid A.: undated (1 letter)
Library of Congress: undated and 1965-1982 (6 letters)
Licciardi, Pietro: undated (1 letter)
Licinio Cappelli: 1949 (1 letter)
Life Insurance Company of Georgia: 1954 (2 letters)
Little Gallery: see Carolan, Anna B.
Lobatini, G.: undated (1 letter)
Loccatelli, Giulio: 1956-1958 (2 letters)
Lombaro (?), Patricia: 1961 (1 letter)
Loughlin, Dr. John J.: 1936-1940 (2 letters)
Lousine, L.: undated (1 letter)
Luccia, Enrico: undated and 1928-1977 (19 letters)
Lucibello, Luigi: Jan 12, 1965
Lucifero, Alfonso: Jan 13, 1912 (letter from Ministero delle Finanze)
McAfee, Don: 1955-1969 (3 letters); see Watergate Construction Corp.
McGinnis, Paul: 1988 (1 letter)
McIlhenny, Henry P.: 1949 (1 letter)
McIntyre, W. A.: undated (1 letter)
McKeogh, Elsie: 1954 (1 letter)
McKonish, Margaret: 1949 (1 letter)
McMahon, Mabel: undated (1 letter from A. Guarino)
Meert, Margaret Mullin: 1948 (2 letters)
Meeting House Gallery: 1972 (1 letter)
Meguin, A.: undated (1 letter)
Menard, G.: 1928 (1 letter)
Men of Achievement: 1974-1975 (2 letters)
Mensh, Elizabeth: 1978 (1 letter)
Merritt, Polly: undated (1 letter)
Messina, Joseph R.: 1971 (1 letter)
Metropolitan Museum of Art: 1951 (1 letter)
Miami Museum of Modern Art: 1965-1968 (7 letters)
Miki, Suizan: undated (1 letter)
Mills, Harrington: 1933 (1 letter)
Ming, Wang (National Art & Frame Co.): 1968 (1 letter)
Mitchell, Austin: 1946 (1 letter)
Montgomery County Art Association: 1961 (1 letter)
Moore, Norman Perry: 1927-1928 (2 letters)
Moore, Paul: 1970 (1 letter)
Morey, Mr.: [1950] (1 letter)
Morott, Aristodemi: 1918 (1 letter)
Morrison, Lillian: 1971 (1 letter)
Mortot, Virgilio: undated and 1962-1964 (4 letters)
Morvidi, Maria: 1918 (1 letter)
Moskin, Ruth: undated (1 letter)
Mullins, Mrs.: undated (1 letter)
Museum of Fine Arts, Boston: undated and 1955 (2 letters)
Museum of Fine Arts, Houston: 1964 (2 letters)
Museum of Modern Art: 1949-1973 (3 letters); see Junior Council of the Museum of Modern Art
Myers, Eugene Ekander: 1976 (1 letter)
National Academy of Design: [1939] (1 letter)
National Aeronautics and Space Administration: 1962-1973 (5 letters including 4 photographs of artwork and 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon; an Apollo translunar/transearth trajectory plotting chart; an Apollo lunar orbit chart; and an Apollo earth orbit chart); see Cooke: Hereward Lester Cooke Foundation
National Cyclopedia of American Biography: 1979 (1 letter)
National Gallery of Art: undated and 1956-1974 (7 letters)
National Housing Center: 1961 (2 letters)
National Investigations Committee on Aerian Phenomena: 1957 (1 letter)
National Society of Arts and Letters: 1952 (1 letter)
National Society of Mural Painters: 1940-1963 (3 letters)
National Student Art Tour: 1949 (1 letter)
National Sugar Refining Company: 1938 (1 letter)
Neale, Rosamund: 1961 (1 letter)
Neilson, Robert Hude: 1928 (1 letter)
Nelson, Helen Ewing: undated (1 letter)
New American Library: 1953 (1 letter)
Newlin, Ben: 1979 (1 letter)
New Society for Art and Literature: 1947 (1 letter)
Nichol, Jean: 1926 (2 letters)
Nichol, Nella: 1929 (1 letter)
Nilsen, Laila: 1946 (1 letter)
Nobili, A.: undated letter written on reverse of photograph of Nobili painting
Nuova Critica Europea: 1969 (1 letter)
O'Connor, Don: 1960 (1 letter)
O'Connor, FrancisV.: 1968 (1 letter)
Oggi: 1967 (1 letter)
Okamoto, Yoichi R.: undated (1 letter)
Oklahoma Art Center: 1969 (1 letter)
Oklahoma Museum of Art: 1988 (1 letter)
Olson: Charles Olson Archives, University of Connecticut: 1975-1976 (3 letters)
Oregon State Library: 1957 (1 letter)
Orlando, Teresa: undated and 1949-1971 (3 letters)
Ottiani, Giuseppe: 1909 (1 letter)
Palmieri, Renato: 1928 (1 letter)
Park, Marlene: 1979 (1 letter)
Pavia, Dagoberto: 1959 (1 letter)
Pavia, Goffredo: 1921-1924 (7 letters)
Palmieri, Renato: 1957 (1 letter)
Palombi, Angelo: 1921 (1 letter)
Pan American Union: 1944-1945 (2 letters)
Parsons, Betty (Betty Parsons Gallery): undated and 1949-1973 (9 letters)
Passedoit Gallery: 1956 (1 letter)
Pensione Boos, Rome: 1928 (1 letter)
Pensione Girardet, Rome: 1928 (1 letter)
Perentine, Giuseppe (Nino): 1927-1950 (3 letters)
Peresson, I.: 1971 (1 letter)
Peretti, Luigi: undated (1 letter)
Perkins, Milo: 1944 (1 letter re: Ernesto Galarza)
Perna, Giorgio: undated (1 letter)
Peterson, Esther: 1978 (1 letter)
Philadelphia Department of Public Property: 1960 (1 letter)
Philadelphia Museum of Art: 1965-1966 (3 letters)
Phillips, Duncan: 1954 (1 letter)
Pirucchini, Maria: 1927 (1 letter)
Pope Paul VI: mentioned in 7 letters dated 1966, including 2 photographs of Lazzari with bust of the Pope; see Fiore, Ilario; see Giovannetti, Alberto; see Institute for the Arts of the Archdiocese of Washington
Preissler, Audrey: 1970 (1 letter)
Print Collector's Quarterly: 1949 (1 letter)
Print Council of America: 1963 (1 letter)
Prospersin, Eugenio: 1941 (1 letter)
Pyramid Club: 1956 (1 letter)
Quick, Robert B.: 1972 (1 letter)
Quinzi, Amerigo: 1920-1925 (2 letters)
Rady, Cabell: 1958 (1 letter)
Rahill, William Allen: 1954 (1 letter from Lazzari)
Rassegna Nazionale di Arti Figurative: 1948 (1 letter)
Rattu, Salvatore: undated and 1926-1966 (13 letters)
Reeves, Rosser: 1947 (1 letter)
The Reporter -- magazine: 1956 (1 letter)
Reuther, Victor: see United Auto Workers
Reynolds, D.: 1939 (1 letter from Lazzari)
Rhine, J. B.: 1949 (1 letter)
Ricca, Roberta: undated (1 letter)
Rieder (?), Baronessa: 1934 (1 letter)
Rioffo, Angela: 1959-1962 (2 letters including 2 photographs of friends)
River Road Gallery, Louisville, Ky.: 1941-1943 (4 letters)
Rivoi, Swami: undated (1 letter)
Robson, John: 1958 (1 letter)
Rocca Sinibalda: 1920 (1 letter)
Rockefeller, Nelson A.: 1946 (1 letter)
Rodman, Selden: undated (1 letter)
Rollins College: 1933-1942 (4 letters)
Roosevelt, Eleanor: Nov 09, 1945 and a letter dated 1964 concerns a viewing of the Roosevelt portrait bust); see White House; see Roosevelt Library
Roosevelt: Franklin D. Roosevelt Library at Hyde Park: 1963-1965 (8 letters, including typescripts of speeches); see United Auto Workers
Ross, Fred: 1949 (1 letter)
Rosso, Giulio: undated letter of recommendation by Lazzari
Roth, Maurice: 1993 (1 letter including 2 photographs of Lazzari's work)
Rothschild, Anselm A.: undated (1 letter)
Rowan, Edward: see Federal Works Agency
Rowan, Leata: undated (1 letter)
Rowantrees Pavilion: see Thompson, Lin
Rowin, Fran: 1976 (2 letters)
Rowland, Creelman: undated (1 letter)
Ruffner, Willis E. (lawyer for Fanita Lanier): 1944 (1 letter)
Russell, N. F. S.: 1932 (1 letter)
Rust, John and Thelma: 1952-1954 (38 letters, including an application from Lazzari for a grant from the John Rust Foundation, including a clipping about Rust and 3 photographs of cotton pickers); see West Tennessee Historical Society
St. Louis, Bertha: undated (1 letter)
Sanderson, W. A. (Calouste Gulbenkian Foundation): 1958 (1 letter)
San Francisco Museum of Art: 1967 (1 letter)
Sartori, Guiolitta: undated letter from A. Guarino
Satterlee & Smith, Architects: 1962 (1 letter)
Savini, Renata: 1965-1967 (3 letters)
Scheetz, June Rice: undated (1 letter)
Schoenberg, Rose: 1967 (1 letter)
Schurmer, Zaira E.: 1947 (2 letters)
Schwarz -- magazine: 1957 (1 letter)
Scigliano, Peppino Cosenza: 1910 (2 letters)
Sebastiani, G.: undated (1 letter)
Selmi, Gabriella: undated (1 letter)
Sevareid, Eric: 1956 (1 letter)
Sheen, Rev. Fulton J.: 1970 (1 letter)
Simotti, Aristide (friend who was prisoner of war): 1911-1925 (62 letters)
Sinisca: undated (1 letter)
Sirony, Simone: 1955-1964 (8 letters)
Smart: David and Alfred Smart Museum of Art: 1991-1996 (4 letters)
Smith, George: 1926-1927 (2 letters)
Smithsonian Institution: undated and 1947-1976 (8 letters)
Snyder, Nell H.: 1969 (1 letter)
Society of American Etchers: 1944 (1 letter)
Society of American Graphic Artists: 1956 (2 letters)
Society of Washington Artists: 1960-1961 (2letters)
Society of Washington Printmakers: 1976 (2 letters)
Sound View Press: 1991 (1 letter)
Spiral Group: see Strantin, Wally
Stevenson, Adlai: see White House
Stewart, George: 1932 (1 letter)
Strantin, Wally and Edward: 1950-1951 (2 letters)
Stroppoghetti, Arturo: 1923 (1 letter)
Stubbs, Kenneth: [1948] (1 letter)
Studer, Alfredo and Clara: 1947-1976 (15 letters)
Sweeney, James Johnson: 1949 (1 letter)
Syracuse University: 1964 (1 letter)
Taylor, Prentiss: 1972 (1 letter)
Teller, Douglas H.: 1963 (1 letter)
Terenz, Don Umberto: 1960 (1 letter)
Thames and Hudson, Ltd.: 1974 (1 letter)
Thomas, Norman: 1963-1965 (2 letters)
Thomen, Luis Francisco (Ambassador from Dominican Republic): undated (1 letter)
Thompson, Lin: 1950-1951 (3 letters)
Thurston, Charles D.: 1927-1928 (4 letters)
Tibet Society: 1975 (1 letter)
Timpenado, Cesare: 1927 (1 letter)
Tirrocelli (?), A.: 1917 (1 letter)
Toledo Museum of Art: 1957 (1 letter)
Toscanini, Arturo: mentioned in 2 letters dated 1928
Tosello, Alfredo: 1947-1949 (2 letters)
Tosi, Elisa: 1929 (1 letter)
Treasury Department, Section of Painting and Sculpture: 1936-1939 (53 letters concerning the Arlington, N.J. post office, the Sanford, N.C. post office, and the New York World's Fair Sculpture Competition)
Truman: Harry S Truman Library at Independence, Mo.: 1963 (1 letter)
Turkish Embassy, Washington, D.C.: 1958-1959 (4 letters including a photograph of Lazzari)
Tyler, Richard O.: 1958 (1 letter)
Ugolini, Luigi: 1969 (1 letter)
Ungar, Harold and Mildred: 1965 (1 letter)
United Auto Workers (U.A.W.): 1963-1971 (9 letters); see Debs: Eugene V. Debs Foundation
United Scenic Artists of America: [1939] (1 letter)
United States Civil Service Commission: 1944 (2 letters)
United States Department of Agriculture: 1945-1967 (10 letters)
United States Department of Labor: undated (1 letter)
United States Information Agency: 1959 (1 letter)
United States Information Service: Jul 09, 1964
University Settlement: 1946 (2 letters)
Upham, Elizabeth: 1948 (1 letter)
Van De Bries, Enri: 1973 (1 letter)
Vangell?, Raphaele: undated (1 letter)
Van Smith, Anne: 1949 (1 letter)
Venice Biennale: 1948-1954 (3 letters)
Vermont Marble Company: 1955 (1 letter)
Veschi, Signora: undated (1 letter)
Vickery, Ruth Bacon: 1929 (1 letter)
Victoria Hotel, Rome: 1928 (2 letters)
Virginia Museum of Fine Arts: 1956 (1 letter)
Visher, John: 1956 (1 letter)
Vosseller, Harold: 1948 (1 letter)
Wagner, Edward A. (Dell Publishing Co.) and Julia: 1954-1976 (5 letters)
Waldo, M. V.: 1945 (1 letter)
Warren, Susan and Louise: undated (1 letter)
Washington Gallery of Modern Art: undated (1 letter)
Washington is Wonderful: see Jones, Dorothea and Stuart E.
Washington-Lee High School: 1961 (1 letter)
Washington, Walter E. (Mayor of Washington, D.C.): 1976 (1 letter); Oct 19, 1976 (1 letter from Franz Bader)
Washington Water Color Association: undated and 1961 (3 letters)
Watergate Construction Corp.: 1968-1969 (4 letters); see Don McAfee
Watson, Ernest W. (editor, -- Art Instruction -- and -- American Artist -- ): 1939-1949 (3 letters)
Watson, Forbes: see Art in Federal Buildings, Inc.
Weil, Frank L.: 1926-1936 (2 letters)
Weinmann, Eric: 1980 (1 letter including a photograph of artwork)
Wells, John K. (Equitable Life Assurance Society): undated (1 letter)
West Tennessee Historical Society: 1952 (3 letters); see Rust, John
Weyhe: E. Weyhe Gallery: 1949 (1 letter)
White, Sarah: 1929 (1 letter)
Whitney Museum of American Art: 1939-1980 (11 letters)
Whyte Gallery: 1944-1950 (2 letters)
Widdemer, Kenneth D.: 1928 (1 letter)
White House: 1965-1968 (4 letters concerning the presentations of the busts of Eleanor Roosevelt and Adlai Stevenson)
Whittemore, Manvel: 1936 (1 letter enclosing poems)
Who's Who in America: 1979-1980 (2 letters)
Works Progress Administration: 1937-1938 (4 letters)
Workshop Center of the Arts: 1953 (1 letter); see Berkowitz, Ida and Leon
WRC Radio: 1966 (1 letter including a photograph of Lazzari)
WRC-TV: 1967 (1 letter)
Young, June: undated (1 letter)
Young, Louis Butler: 1971 (1 letter)
Zerega, Andrea: 1972-1976 (4 letters, including a résumé)
Collection Restrictions:
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Pietro Lazzari papers, 1878-1998. 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 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:
Guy Pène Du Bois papers, circa 1900-1963, bulk 1920-1963. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection was funded by the Terra Foundation for American Art
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Scope and Content Note:
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Biographical materials include membership certificates, a marriage certificate, and a travel journal kept by Beal's wife, Maud Ramsdell Beal, on their honeymoon. Personal correspondence consists primarily of love letters between Beal and Maud Ramsdell Beal. Three folders of professional correspondence contain letters from Joseph Pennell (1925); Federal Art Project staff from the Treasury Department including Ed Rowan, Edward Bruce, and Forbes Watson (1938); Walker Hancock (1951); and a series of letters signed "Hyde," from Crow Island, Massachusetts, which may have been written by Edward Hyde Cox (1953-1954).
Also found among the papers are printed materials such as exhibition catalogs, clippings, and reproductions of artwork, both loose and in a scrapbook from the 1920s; subject files containing clippings, photographs, and other pictorial references to common subjects of Beal's artwork; a few personal photographs; and photographs of works of art. Notes and writings are found among Beal's sketchbooks, including one long autobiographical essay which may have been for a lecture, a few diary entries from 1942, and extensive notes on the color, form, and lighting of his sketching subjects. In addition to a scrapbook relating to Beal exhibitions, there are also two scrapbooks containing photographs of works of art.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Materials, 1900-1909, 1942, 1953 (0.2 linear feet; Boxes 1 and 5, OV 10)
Series 2: Correspondence, 1906-1954 (0.4 linear feet; Box 1)
Series 3: Printed Materials, 1900-2001 (0.4 linear feet; Boxes 1, 5, OVs 11, 16)
Series 4: Subject Files, 1889-1953 (0.4 linear feet; Boxes 1-2, OV 10-12)
Series 5: Photographs, 1908-1950 (0.2 linear feet; Box 2, OV 10)
Series 6: Artwork, 1900-1951 (3.3 linear feet; Boxes 2-9; OV 10, 13-20 and rolled documents 21 and 22)
Series 7: Scrapbook, circa 1919-circa 1951 (1.1 linear ft; Boxes 7, 23)
Biographical Note:
Painter and muralist Gifford Beal was born in New York City in 1879, the youngest of six children. Beal began his art training at 13, when he accompanied his older brother, Reynolds Beal, to the Shinnecock School of Art for classes with William Merritt Chase. Gifford Beal continued to study with Chase for ten years at Shinnecock, the Tenth Street Studio building in New York City, and the New York School of Art. Beal attended college at Princeton University from 1896 to 1900, and from 1901 to 1903 he also took classes at the Art Students League with George Bridgman and Frank Vincent DuMond. In 1908, Beal married Maud Ramsdell of Newburgh, New York, where the Beal family also had an estate. They had two sons, William (b. 1914) and Gifford, Jr. (b. 1917).
Beal received all of his training in the United States at a time when European art training was the norm among his peers. Beal's earliest subject matter was taken from the familiar worlds of New York City and the Hudson River Valley, where he frequently spent his summers. Later work would depict other summer homes, including Provincetown, Rockport, and Gloucester, Massachusetts. Throughout his career he explored a variety of styles in his approach to these and other representational subjects such as garden parties, the circus, Central Park scenes, and coastal scenes in the Northeast and the Caribbean.
Beal exhibited at the National Academy of Design's annual exhibition almost continuously from 1901 to 1956, was a member of the Academy from 1914, and won at least seven awards given by the Academy over the course of his career. He won his first award in 1903 from the Worcester Art Museum. He exhibited regularly in major annual exhibitions and world expositions, including the Panama Pacific Exposition of 1915, where he won a gold medal.
Gifford and Reynolds Beal exhibited in a two-man show in 1907 at Clausen Galleries, and the two brothers were both eventually represented by Kraushaar Galleries, where Gifford Beal had his first one-man show in 1920. Beal served as president of the Art Students League from 1916 until 1930, the longest term of any president, and taught there in 1931 and 1932.
Beal was commissioned by the Section on Painting and Sculpture of the Works Progress Administration to paint ten murals for the Allentown, Pennsylvania post office in the late 1930s. The Allentown murals depicted American revolutionaries hiding the liberty bell at Allentown. In 1941, he completed two murals in the Department of the Interior building in Washington, DC: North Country, and Tropical Country, and he painted seven panels at Princeton University in 1943 depicting the life of the nineteenth-century engineer Joseph Henry. He was awarded an honorary Masters degree by Princeton in 1947.
Retrospective exhibitions were held at the Century Club, San Francisco Museum, Des Moines Art Center, and Butler Institute in the early 1950s. Upon his death in 1956, a memorial exhibition was held at the American Academy of Arts and Letters, where Beal became a member in 1943.
Provenance:
Papers were donated to the Archives by Gifford Beal's descendants in three separate accessions. Beal's sons, William and Gifford R. Beal, Jr., donated sketches and sketchbooks in 1992 and 1993. Richard and Lewis Goff, Margaret Beal Alexander, and Telka Beal donated additional sketches, sketchbooks, and materials from Beal's studio in 2000 through the Cape Ann Savings Bank, facilitated by Kraushaar Galleries.
Margaret Beal Alexander, Beal's granddaughter, also donated personal papers of her grandparents via Kraushaar Galleries in 2000. Additional sketchbooks and a poster illustrated by Beal were donated by Beal's Estate via Kraushaar Galleries in 2007. Two scrapbooks of photographs of works of art were donated by Beal's Estate via Kraushaar Galleries in 2015.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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.
This series consists of personal and work-related correspondence (primarily incoming correspondence) between Cahill and various friends and colleagues. While a large portion of the series documents Cahill's position as Director of the FAP, it also extends beyond those years and illuminates other aspects of Cahill's career including his interest in folk and Asian art, and his work as an art critic.
There is significant correspondence with the artist Stanton MacDonald Wright between 1936 and 1950, and with the artist Irene Pereira between 1950 and 1953. The series also documents research which Cahill conducted in the late 1940s on the development of the Index of American Design for his introduction to a book on the Index by the National Gallery of Art, published by the Macmillan Company. Correspondence from 1949 provides another angle on the historical details of the FAP through lengthy correspondence documenting Cahill's criticism of William Francis McDonald's book Federal Relief Administration and the Arts (Ohio State University Press, 1969).
There is a large amount of correspondence from July 1960 comprising sympathy letters to Dorothy C. Miller following Cahill's death. Correspondence from 1977 encloses a catalog of an exhibition organized by New York WPA Artists, Inc., at the Parsons School of Design in November 1977. The exhibition, New York City WPA Art, was dedicated to the memory of Holger Cahill.
See Appendix for a list of correspondents (with the exception of those microfilmed on reel 1105) in Series 2
Appendix: Correspondents in Series 2:
Abbott, Berenice: 1944 (letter to the Editor)
Abbott, John: [1946]
Abell, Walter ( -- Canadian Art): -- 1943-1944 (2 letters)
Adams, Charles C.: 1940
Alcopley, Mr.: [1952] (including typescript "Pictures of Alcopley" by Saburo Hasegawa); 1953-1960 (4 letters)
Alsberg, Henry G. (Director, Federal Writers' Projects): 1936 (4 letters)
American Council of Learned Societies: 1949
American Federation of Arts: 1949-1952 (3 letters)
American Folk Art Gallery: 1941
American Heritage: 1954
American Swedish Historical Foundation: 1949
Andrews, Robert Armstrong and Eleanor: [1960], undated
Art in America: 1953
Artists For Victory: [1942]
Artists League of America: 1945
Artists Union of Massachusetts: 1936 (telegram to President Roosevelt)
Arts Council of Japanese Americans for Democracy: 1944
Ashton, Dore: [1960]
Bach, Richard F. (Metropolitan Museum): 1924 and 1950
Bailey, Herbert: 1972 (letter from Naomi Bliven)
Baker, Donald: [1936]
Baker, Jacob (WPA): 1935-1960, undated (10 letters)
Barach, Frederica (Writers' War Board): 1944
Barker, Virgil and Ida: 1945-1960 (4 letters)
Barnard College: 1951 (2 letters)
Barr, Alfred H., Jr. (Museum of Modern Art): 1935-1960 (16 letters)
Barr, Tony: 1960
Batten, Barton, Durstine & Osborn, Inc.: 1950
Baur, John (Brooklyn Museum): 1946-1960 (6 letters)
Winchester, Alice ( -- Antiques -- Magazine): 1950-1951 (6 letters)
Winser, Beatrice: 1924-1944 (6 letters)
Winter, Anna K. (antiques dealer): 1935
Wisconsin: State Historical Society of Wisconsin: 1939
Woodstock Artists Association: 1960
Woodward, Ellen S.: 1936-1938 (3 letters)
Worcester, Wakefield (architect): 1936
Wright, Russell (industrial designer): [1960]
Wyn: A. A. Wyn, Inc.: 1951
Youngerman, Jack: 1960
Zegri, Armando (Galeria Sudamericana): 1960
Zimmerman, Fred and Dorothy: [1960]
Zorach, William: 1936-1960 (3 letters)
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art 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:
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
This series includes letters written to William Gropper from 1916 until 1977, including some photocopies. Very few of William Gropper's responses are in this collection, which are mostly undated. There is also correspondence written by and to Sophie Gropper from 1980 to 1983. Notable correspondents include Louis Lozowick, Frank Crowninshield, Raphael Soyer, Robert Henri, and Frank Alvah Parsons. There are many letters from Ben Horowitz with the Heritage Gallery, which sold Gropper's art. Additionally, there are letters concerning William Gropper's participation in the Works Progress Administration. Correspondence from 1935 documents Gropper's contributions to Vanity Fair magazine before it ceased publication in 1936. Correspondence after Gropper's death is between his widow, Sophie Gropper and various museums, galleries, and publishers.
See Appendix for a list of selected correspondents from Series 5
Arrangement note:
Correspondence is arranged chronogically.
Appendix: Selected Correspondents from Series 5:
Although this index is not comprehensive, an effort has been made to highlight the major artists, museums and galleries with which William and Sophie Gropper corresponded.
Angelo, Emidio (artist): 1971; 1972
Ballot, Adele ( -- Vanity Fair -- magazine): 1935
Barr, Alfred H. Jr. (The Museum of Modern Art): 1936
Sharkey, Alice (United States Treasury Department): 1936
Singer, Clyde (Butler Institute of American Art): 1973
Soby, James Thrall (The Museum of Modern Art): 1964
SoRelle, Jane (ACA Gallery, Rome): 1964
Soyer, Raphael (artist): 1947; 1970
Taylor, Francis Henry (The Museum of Modern Art): 1942
Tolley, William P. (Syracuse University): 1968
United States Treasury Department: 1935
Vanity Fair -- magazine: 1935
Valeska, S. (Valeska Art Studios): 1966
Watson, Forbes (United States Treasury Department): 1936; 1942
Winser, Beatrice (Newark Museum): 1935
Yasko, Karel (Public Buildings Service): 1969; 1971; 1977; undated
Young, Art (artist): 1934
Collection Restrictions:
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:
William Gropper papers, 1916-1983. 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 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:
Abraham Walkowitz papers, 1904-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by the Terra Foundation of American Art
New York N.Y. -- Buildings, structures, etc., Photographs
Date:
1840-1967
bulk 1900-1960
Summary:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.
Scope and Content Note:
The papers of New York City art critic, writer, and lecturer Forbes Watson date from 1840-1967 with the bulk of materials dating from 1900-1960 and measure 13.92 linear feet. Found are biographical materials, correspondence, business records relating to the Arts Publishing Corporation, records documenting Watson's work for the Public Works of Art Project and the Section of Painting and Sculpture, reference files, an exhibition file from the Pepsi-Cola Company's Third Annual Exhibition, writings and notes, ten scrapbooks and loose pages, printed materials, and photographs.
Biographical material includes Watson's Harvard diploma, documents concerning his service with the Red Cross in World War II, biographical accounts, and obituaries.
Correspondence is primarily with colleagues and includes scattered letters from Alfred H. Barr, Jr., Ira Glackens, Allen Tucker, and Max Weber. Other letters are from artists, art historians, and museum curators. A notebook contains shorthand drafts of letters from Watson.
Business records include personal business records consisting of various tax and stock records. The Arts Publishing Corporation records concern Watson's tenure as editor of The Arts magazine and contains a contract, correspondence, financial records, stockholders reports, press releases, a scrapbook, and issues of The Arts. Also included are business records pertaining to the Art in Federal Buildings, Inc..
The U.S. Treasury Department file is the largest series and documents Watson's federal employment as technical director, chief advisor, and consultant for Treasury Department's public art programs - the Public Works of Art Project and the Section of Painting and Sculpture. The files contain correspondence, financial reports, prospectuses, exhibition files, typescripts, clippings, exhibition catalogs, miscellaneous printed material, and photographs, and a scrapbook. The files contain a record of Watson's and other federal administrators' interactions with many artists during the Depression Era. Correspondence is primarily between Watson and Edward Bruce, Olin Dows, Henry and Elinor Morgenthau, and Edward B. Rowan. Found are scattered letters from artists including Yasuo Kuniyoshi, Paul Manship, and William Zorach, among many others. There are exhibition files for "Art for Bonds," "Army at War," and "War Against Japan." There are also photographs of U. S. Treasury Department events including a radio broadcast by John Dewey, Robert La Follette, Jr., and Sumner Welles.
Documents from the Pepsi-Cola Company's Third Annual Exhibition at the National Academy of Design contains a prospectus, an exhibition catalog and artists' statements.
Artist/Patron files contain reference material concerning painters, sculptors, photographers, dancers, composers, authors, art collectors, art dealers, and museum administrators. Files may include writings, notes, artworks, exhibition catalogs and other printed materials. Of particular note are photographs, which include portrait photographs of artists and of artists in their studios. Notable photographers include Ansel Adams, Arnold Genthe, Man Ray, photographs of New York City by Charles Sheeler and a photo of Henri Matisse by A. E. Gallatin. Files for Nan Watson, Symeon Shimin, and Glenn O. Coleman contain artworks. A file for Constantin Brancusi contains legal documents concerning U. S. Customs vs. Brancusi.
Art and Architecture files consist of reference material including photographs and notes concerning miscellaneous unattributed art works, American architecture, and furnishings.
Notes and writings consist of miscellaneous notes and typescripts of lectures and published articles, and notebooks.
Nine scrapbooks and loose scrapbook pages contain clippings of articles written by Watson, lists, and exhibition announcements and catalogs. Additional printed material includes clippings, copies of the Hue and Cry newspaper, exhibition announcements and catalogs, press releases, calendars of events, brochures for the Art Students League, book catalogs, published books, and miscellaneous printed material.
Photographs are of Forbes Watson; family members including his wife, painter Nan Watson; and members of the Art Students League including Peggy Bacon, Minna Citron, Stewart Klonis, Yasuo Kuniyoshi, and Reginald Marsh. There are also photographs of juries for the Carnegie Institute International Exhibitions that include colleagues Alfred H. Barr, Jr., Gifford Beal, Guy Pene DuBois, Leon Kroll, Henri Matisse, Homer Saint-Gaudens, and Maurice Sterne.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1902-1960 (Box 1; 4 folders)
Series 2: Correspondence, 1913-1960 (Box 1; 33 folders)
Series 3: Business Records, 1920-1944 (Box 1-3, 14, 22; 2.0 linear feet)
Series 4: U. S. Treasury Department File, 1926-1945 (Box 3-6, 14, 17, 22, OV 21; 3.4 linear feet)
Series 5: File for Pepsi-Cola Company's Third Annual Exhibition "Paintings of the Year," 1946 (Box 6; 5 folders)
Series 6: Artist/Patron Files, 1840-1967 (Box 6-9, 15, OV 21; 2.8 linear feet)
Series 7: Art and Architecture File, 1929-1930 (Box 9; 35 folders)
Series 8: Notes and Writings, 1875-1950 (Box 9-10, 22; 1.3 linear feet)
Series 9: Scrapbooks, 1904-1951 (Box 9, 11, 14, BV 18, BV 19, BV 20; 1.8 linear feet)
Series 10: Printed Material, 1900-1961 (Box 10, 12-13, 16-17, 22; 1.5 linear feet)
Series 11: Photographs, 1900-1950 (Box 13, 22; .4 linear feet)
All material is arranged chronologically, with the exception of the Artist/Patron Files which are arranged alphabetically.
Biographical Note:
Forbes Watson (1879-1960) worked primarily in New York City and Washington, D.C. as an art critic, writer, lecturer, and consultant to the U. S. Treasury Department's Public Works of Art Project and Section of Painting and Sculpture (Section of Fine Arts).
Forbes Watson was born on November 27, 1879 in Boston, the son of stockbroker John Watson and his wife Mary. Watson grew up in Cambridge, Massachusetts, attending the Phillips Academy in Andover, and graduating from Harvard University in 1902. After a brief period of freelance writing, he was hired by The New York Evening Post as an art critic in 1911 and worked there until 1917. In 1910, he married Agnes, professionally known as painter Nan Watson.
During World War I, Watson served with an American volunteer ambulance unit with the French army, later working with the American Red Cross in Paris. After the war, he moved back to New York City and worked as art critic for The World, from the early 1920s until 1931 and as editor of The Arts magazine from 1923-1933. Watson also lectured at the Art Students League, and at various universities and arts organizations.
In 1933, Watson moved to Washington, D.C. to serve as technical director of the U. S. Treasury Department's short-lived Public Works of Art Project. In October 1934, Watson was employed as Chief Adviser to the Treasury Department's Section of Painting and Sculpture (later renamed the Section of Fine Arts) and later as Consultant to the Secretary's Office of the Treasury. During World War II, he organized various traveling exhibitions including "Art for Bonds" that promoted the sale of war bonds. Watson retired in 1946 and lived in Gaylordsville, Connecticut.
Watson was the author of numerous essays and reviews, and several books including American Painting Today and Winslow Homer, a biography of the noted American artist. With Edward Bruce, he produced a pictorial volume Art in Federal Buildings, Vol. I: Mural Designs. At his death he was working on his autobiography.
Forbes Watson died on May 31, 1960 in New Milford, Connecticut.
Provenance:
The Forbes Watson papers were donated by Watson's widow, Nan Watson, in 1961. An additional folder of material was donated in 2018 by the Museum of Modern Art via Michelle Elligott, Chief of Archives, Library and Research.
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.
Occupation:
Art critics -- New York (State) -- New York Search this
Arts administrators -- New York (State) -- New York Search this
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:
Forbes Watson papers, 1840-1967, bulk 1900-1960. Archives of American Art, Smithsonian Institution.
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:
Forbes Watson papers, 1840-1967, bulk 1900-1960. Archives of American Art, Smithsonian Institution.
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:
Forbes Watson papers, 1840-1967, bulk 1900-1960. Archives of American Art, Smithsonian Institution.
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:
Forbes Watson papers, 1840-1967, bulk 1900-1960. Archives of American Art, Smithsonian Institution.
