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:
Grant Wood papers, 1930-1983. 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 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:
Grant Wood papers, 1930-1983. 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 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:
Grant Wood papers, 1930-1983. 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 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:
Grant Wood papers, 1930-1983. 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.
Correspondence of director Wilbur D. Peat. Many of the letters are from well-known artists of the 1920s and 1930s relating to their contributions to an exhibition of American paintings which Peat was assembling in 1932-1933. [Microfilm title: The Herron Museum of Art]
Correspondents include: Dewey Albinson, A. S. Baylinson, Wenona Day Bell, Thomas H. Benton, George Biddle, Peter Blume, Ernest Blumenschein, C. Curry Bohm, Adolphe Borie, George H. Borst, Robert Brackman, Samuel Brecher, Alexander Brook, Charles E. Burchfield, Varaldo J. Carian, Mrs. E. F. Carpenter, John Carroll, Nicolai Cikovsky, Antonio Cirino, Charles Val Clear, Max B. Cohen, John S. Curry, Randall Davey, Charles H. Davis, Edwin Dickinson, Paul Dougherty, Susan M. Eakins, Henry S. Eddy, Virginia B. Evans, Jerry Farnsworth, Ernest Fiene, John K. Fitzpatrick, John F. Folinsbee, Anton P. Fabrick, Charlotte Gailor, Daniel Garber, Robert F. Gilder, William J. Glackens, John R. Grabach, Charles T. Greener, Charles P. Gruppe,
Eugene Higgins, Edward Hopper, Bernard A. Hunger, Henry G. Keller, Fanny M. King, Georgina Klitgaard, Leon Kroll, Max Kuehne, Georges La Chance, Luigi Lucioni, Reginald Marsh, Henry E. Mattson, Henry Lee McFee, Miriam McKinnie, Clarence Millet, Ross E. Moffett, Francis Mora, Frederick Mulhaupt, Jerome Myers, Watson Nayland, Warren Newcombe, Waldo Peirce, Van Dearing Perrine, Robert Philipp, Abraham Phillips (Tromka), Majorie Phillips, Paul A. Plaschke, Edward Redfield, Doel Reed, Charles Rosen, Edward B. Rowan, Olive Rush, Chauncey Ryder, Eugene F. Savage, Henry Schnakenberg, Zoltan Sepeshy, Edward Sewall, Leopold Seyffert, Nan Sheets, Simka Simkhovitch, Clyde J. Singer, Judson Smith,
Eugene Speicher, Francis Speight, Maurice Sterne, Alfred Stieglitz (letter written on the back of Peat's letter to Georgia O'Keeffe and written for her), Elizabeth O'Neill Verner, Ferdinand E. Warren, Frederick Judd Waugh, Max Weber, Lois Wilcox, Arnold Wiltz, Grant Wood, and Harold Holmes Wrenn.
Biographical / Historical:
The John Herron Art Institute became the Indianapolis Museum of Art ca. 1969-1970. Peat was director 1929-1965.
Other Title:
Herron Museum of Art [microfilm title, reel D131]
Provenance:
Donated 1962 by the John Herron Museum of Art.
Restrictions:
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. Contact Reference Services for more information.
Correspondence with and/or relating to artists John Singer Sargent, Walt Kuhn, Grant Wood, George A. Curtis, Anne Marie Jauss, and others. Approximately 300 items.
The Sargent related correspondence (77 items) is between Gaston, Director of Research at Kennedy Galleries and Knoedler Gallery, and David McKibbin, art librarian at the Boston Athenaeum and authority on John Singer Sargent. The letters deal with McKibbin's catalogue raisonné on Sargent, specific works, authenticity, and the Charles M. Mount controversy regarding fake Sargent paintings. Four of the letters are from Rodney Armstrong, Director of the Athenaeum, regarding McKibbin's death and his work on Sargent.
Relating to Kuhn are 29 letters from Brenda Kuhn, daughter of Walt Kuhn, 1971-1980, primarily dealing with Gaston's articles on the vandalization of her father's "Little Nugget" club car which he designed and built in 1937 for the streamliner "City of Los Angeles" and which traveled from Chicago to Los Angeles; ca. 50 letters from George A. Curtis and several articles and catalogs about him; ca. 60 letters from Anne Marie Jauss, mostly from N.J., 1971-1989, along with photos of her work, and an obituary, 1991. Other letters include: one from Grant Wood's sister, Nan Wood Graham, referring to Grant Wood's portrait of Henry Wallace for the cover of Time magazine (1940); several from historian Thomas B. Brumbaugh; two from Wynn Chamberlain from the Edwin Hewitt Gallery; two from Alexander Archipenko, one from Vivian Nichols regarding the Virginia Steele Scott Foundation, one from Katrina Fischer, daughter of Anton Otto Fischer, and one from Karl Kup.
Biographical / Historical:
Gallery director, art historian; New York, N.Y. and Los Angeles, Calif. Born 1928. Died 2002.
Provenance:
Donated by Godfrey O. Gaston.
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.
Correspondence, consisting of 322 letters; biographical material, including a resume; essays about art and other writings, including a play titled "Strings," ca. 1910, written by Cone and Grant Wood, then in high school; a typescript of radio broadcasts; a catalog of Cone's paintings; a photograph album; photographs of Cone and of works of art; bills and receipts; a scrapbook of clippings, catalogs, photographs, letters, and memorabilia; exhibition catalogs, announcements and clippings.
Biographical / Historical:
Painter; Cedar Rapids, Iowa. Lifelong friends with Grant Wood, and also acquainted with gallery director Ed Rowan.
Provenance:
Lent for microfilming 1977 by Mrs. Marvin Cone.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Mid-America in the thirties : the regionalist art of Thomas Hart Benton, John Steuart Curry and Grant Wood : an exhibition at the Des Moines Art Center, Dec. 10, 1965-Jan. 16, 1966
Grant Wood. Grant Wood letter to Edward B. Rowan, 1934 Feb. 6. Edward Beatty Rowan papers, 1929-1946. Archives of American Art, Smithsonian Institution.
Catalogue of the first New York exhibition of paintings and drawings by Grant Wood, with an evaluation of the artist and his work by Park Rinard and Arnold Pyle. Ferargil Galleries, New York City, April, 1935
Grant Wood's Main Street : art, literature and the American Midwest / Lea Rosson DeLong, with contributions by Henry Adams, Sally E. Parry, Kent C. Ryden
