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John Wilson papers

Creator:
Wilson, John, 1922-2015  Search this
Interviewer:
Trachtenberg, Alan  Search this
Extent:
5 microfilm reels
1 Cassette (Sound recording, analog)
Type:
Collection descriptions
Archival materials
Microfilm reels
Cassettes
Drawings
Interviews
Scrapbooks
Sound recordings
Date:
circa 1939-1993
Scope and Contents:
This microfilm collection of the papers of African American painter, sculptor, illustrator, printmaker, and educator John Woodrow Wilson contains biographical material such as autobiographical notes, school records, personal documents, and a bibliography; personal and business correspondence, undated and 1938-1993; files on the New York City Board of Education, 1959-1965, regarding his teaching; and project files, including Wilson's submission for the competition for a Frederick Douglass statue, Eternal Presence, Father and Child Reading, and Wilson's monuments and bust of Martin Luther King, Jr. Correspondents represented include the Albany Institute of History and Art, Atlanta University, Carnegie Institute, Ebony, David Porter of the G Place Gallery, the Institute of Moder Art, Alain Locke, Gloria May, the Museum of Modern Art, Frederick G. Rice, and Hale Woodruff.

Also included in the collection are files on exhibitions; notebooks, 1958-1960; lesson plans, 1959, 1963; notes, writings, and lectures, circa 1945-1993; transcripts of interviews of Wilson and related correspondence, 1978-1987; legal material, 1978; financial records 1944-1991, including a notebook of sales and expenses 1945-1950; photographs, 1940-1990, of Wilson, his work, sculpture, and exhibition installations; a scrapbook, 1939-1967; artwork, including sketchbooks, 1970-1992, life studies completed as a student, 1939-1947, and miscellaneous art work, 1939-1992; and printed material, 1939-1993, including exhibition catalogs, illustrated books and book jackets, and ephemera. The collection also includes a copy of a sound recording of an interview of Wilson conducted by Alan Trachtenberg, circa 1979 (untranscribed).
Biographical / Historical:
John Woodrow Wilson (1922-2015) was an African American painter, sculptor, illustrator, printmaker, and educator in Boston, Massachusetts. Wilson studied at the School of the Museum of Fine Arts, Boston under Ture Bengtz and Karl Zerbe, graduating in 1945. He lived in Paris through the MFA fellowship and studied with modern artist Fernand Leger. He then attended Tufts University, graduating in 1947. Wilson received a John Hay Whitney fellowship and lived in Mexico for five years with his wife, Julie Kowtich. After his return from Mexico in 1956, Wilson made artwork for Chicago labor unions and taught in New York City before returning to teach at Boston University in 1964. During his career, Wilson won competitions to execute statues of Martin Luther King, Jr. for the city of Buffalo, New York and for the Capitol Rotunda in Washington, D.C.
Provenance:
Lent for microfilming 1993 by John W. Wilson, except for the 1979 sound recording which he lent for copying.
Restrictions:
Microfilm portion must be consulted on microfilm. Use of untranscribed interview requires an appointment.
Occupation:
Painters -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Topic:
Painting, Modern -- 20th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
African American artists as teachers  Search this
African American artists  Search this
Genre/Form:
Drawings
Interviews
Scrapbooks
Sound recordings
Identifier:
AAA.wilsjohn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wilsjohn

Van Dearing Perrine papers

Creator:
Perrine, Van Dearing, 1869-1955  Search this
Names:
League for the Preservation of the Palisades  Search this
Perrine, Mary, 1919-1982  Search this
Perrine, Theodora Snow, 1886-1968  Search this
Photographer:
Chapman, A. D.  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Extent:
3 Linear feet ((partially microfilmed on 1 reel))
3.7 Linear feet (Addition)
1 Item (Addition: 1 rd)
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1892-1986
Scope and Contents:
Biographical information, correspondence, writings, photographs, printed material, including clippings, exhibition and auction catalogs, monographs, and art works by Perrine and his students. A small amount of papers of Perrine's wife Theodora Snow and daughter, Mary Perrine, are also included.
REEL D23: Photos of works of art and one photo of Perrine; and catalogs, announcements, and articles about Perrine.
UNMICROFILMED: Ten biographical accounts, an award from the Carnegie Institute for "The Robbers," 1903; letters; exhibition catalogs; a scrapbook with clippings, sketches, and a photograph, 1894-1906; clippings; 2 scrapbooks of clippings, 1897-1915; bulletins and reports from art organizations concerning the League for the Preservation of the Palisades, 1893-1973; exhibition and auction catalogs; a book A FULL LIFE--THE STORY OF VAN DEARING PERRINE by Lolita L. W. Flockhart, 1939; photographs of Perrine, 1912-1950, his family, 1912-1960, his works of art, Perrine working with children, and miscellaneous photographs of a model and works of art by others; and printed material. Among the photographers are A. D. Chapman, and Alvin Langdon Coburn.
ADDITION (N.Y) Drafts of writings on art, many written in pencil (1905, n.d.); a scrapbook of Perrine's manuscript writings; a small amount of correspondence with Carlton Noyes (1903-1945); monographs, many of them presentation copies, some illustrated by Perrine, from Claude Bragdon, Isadora Duncan, J.P. Mowbray, and Carlton Noyes. Artwork includes fifty-three small pastels, crayon and pencil drawings by children who studied with Perrine during the 1940s and 1950s, fourteen large pastels, many of which were published in LET THE CHILD DRAW, one roll of twenty murals done by children, and three large pastels. Photographs are of Perrine's paintings and book illustrations, his Mt. Tremper, New York and Milburn studios, and family photographs (1905-1955, n.d.). Papers of Perrine's wife, Theodora Snow Perrine, consist of biographical material, correspondence (1933-1964), published articles, and photographs of Theodora teaching rhythmics and music to children; and a small portion of material on the Perrines' daughter, Mary Perrine, includings correspondence (1949-1953), playbills, and writings on rhythmics (ca. 1960).
Biographical / Historical:
Painter, art educator; New York, N.Y. b. 9/10/1868, Garnett, Kan.; d. 12/10, 1955, Stamford, Conn.
Provenance:
Material on reel D23 lent for microfilming 1962 by Joyce Malcolm; unmicrofilmed material donated 1985 and 2002 by Kristina Leeb-Lundberg, the executor of Perrine's daughter's estate.
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.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Painting, American  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.perrvan
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-perrvan

Philip Pearlstein papers

Creator:
Pearlstein, Philip, 1924-  Search this
Names:
WBAI Radio (New York, N.Y.)  Search this
WRFM (Radio station : New York, N.Y.)  Search this
Barnet, Will, 1911-2012  Search this
Blaine, Michael  Search this
Cantor, Dorothy  Search this
Close, Chuck, 1940-  Search this
Downes, Rackstraw  Search this
Dückers, Alexander, 1939-  Search this
Field, Richard  Search this
Haas, Richard, 1936-  Search this
Hampleman, Jean  Search this
Kelly, W. J.  Search this
Levine, Jack, 1915-2010  Search this
McCarthy, David, 1960-  Search this
Shaman, Sanford Sivitz  Search this
Storr, Robert  Search this
Tamburini, Fernando  Search this
Tsao, Vivian, 1950-  Search this
Updike, John  Search this
Viola, Jerome  Search this
Wallin, Leland  Search this
Ward, John  Search this
Warhol, Andy, 1928- -- Photographs  Search this
Witkin, Jerome  Search this
Yezzi, David  Search this
Extent:
31.8 Linear feet
16.68 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Date:
circa 1940-2008
Summary:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.
Scope and Contents:
The papers of New York artist Philip Pearlstein measure 31.8 linear feet and 16.68 GB and date from circa 1940 to 2008. The collection is comprised of biographical material, correspondence, interviews and transcripts, writing projects and lectures, personal business records, printed material, three scrapbooks, photographs and moving images, documentary production material, digital records, sound and video recordings, and motion picture film that documents Pearlstein's career as a painter and educator.

Biographical material includes appointment books, several awards, annotated calendars, a catalogue raisonné working list, identification card, membership files, resumes, and one sound recording. Correspondence is with Will Barnet, Chuck Close, Rackstraw Downes, Richard Haas, Jack Levine, Robert Storr, John Updike, Leland Wallin, Jerome Witkin, family, galleries and museums, students, colleagues, artists, arts organizations, and includes a digital recording.

Also found are sound recordings and transcripts of interviews with Pearlstein by Vivian Tsao, Michael Blaine, Sanford Sivitz Shaman, David McCarthy, and broadcast stations WRFM and WBAI. Writing projects and lectures by Pearlstein consist of student work, numerous articles and essays, sound and video recordings of lectures and speeches, letters, memorials, miscellaneous manuscripts and notes, and a U.S. and U.S.S.R. Workshop Exchange project proposal. Writings by others about Pearlstein are by W.J. Kelly, Alexander Dückers, Richard Field, John Ward, Jerome Viola, Robert Storr, and David Yezzi.

Personal business records contain agreements, consignment and loan documents, donations, financial material, exhibition files, insurance and inventories, recommendations written by Pearlstein, reproduction permissions, digital recordings, and teaching files for various institutions. Art reproductions, clippings, exhibition announcements and catalogs for exhibitions of artwork by Pearlstein and others, magazines and journals, newsletters, postcards, and publicity files that include one digital recording are in printed materials.

Two scrapbooks are of Egyptian and Roman architecture and objects accompanied by notes and a small amount of sketches, and one scrapbook is printed material regarding Pearlstein's work and exhibitions. Artwork is by Jean Hampleman, Fernando Tamburini, and unidentified artists. Photographs and moving images that include video recordings and motion picture film of Pearlstein in the studio, portraits, and candids; personal photographs of family, travel, and classmates including Andy Warhol and Dorothy Cantor; artist's models; events and exhibitions; and works of art.

Completed and unedited video and sound recordings, computer graphics footage, soundtrack material, and administrative records for the 1985 documentary video production Philip Pearlstein Draws the Artist's Model are also in this collection.
Arrangement:
The collection is arranged as 10 series.

Series 1: Biographical Material, 1964-2008 (0.8 linear feet; Boxes 1, 36, OV42)

Series 2: Correspondence, circa 1955-2008 (8.5 linear Feet; Boxes 1-10, OVs 42-43, 0.168 GB; ER01)

Series 3: Interviews and Transcripts, 1957-2003 (0.5 linear Feet; Box 10)

Series 4: Writing Projects and Lectures, circa 1945-2008 (2.5 linear Feet; Boxes 10-13, 37-38, 8.26 GB: ER02-ER13)

Series 5: Personal Business Records, 1955-2007 (1 linear Feet; Boxes 13-14, 3.77 GB: ER14-ER15)

Series 6: Printed Materials, 1946-2008 (3.0 linear Feet; Boxes 14-21, 36, OVs 42-43)

Series 7: Scrapbooks, circa 1953-1970s (0.4 linear Feet; Box 22)

Series 8: Artwork, undated, 1967-2004 (0.2 linear Feet; Box 22, OV 42)

Series 9: Photographs and Moving Images, 1940s-2008 (3.3 linear Feet; Boxes 22, 37, 39-41, 4.18 GB; ER16-ER18)

Series 10: Philip Pearlstein Draws the Artist's Model, Documentary Production Material, 1983-1991 (8.5 linear Feet; Boxes 23-30, SAV 31-35)
Biographical / Historical:
Philip Pearlstein (1924- ) is a painter and educator based in New York, N.Y.

Pearlstein was born in Pittsburgh, Pennsylvania, and he attended classes at the Carnegie Museum of Art as a child. While still in high school, his paintings were reproduced in Life magazine after winning Scholastic magazine's high school art competition. After graduating from high school Pearlstein enrolled in the Carnegie Institute of Technology's (CIT) art school, but left after a year to serve in the Army during World War II. He gained knowledge of printing, drafting, and sign painting while stationed in Florida and Italy. After the war he returned to CIT as a student and became art editor of the engineering school's Carnegie Technical magazine. During this time Pearlstein met his wife, Dorothy Cantor, and became close friends with Andy Warhol, both classmates at CIT. Pearlstein moved to New York City with Warhol after receiving his Bachelor of Fine Arts in 1949. In 1955, he completed his thesis on Francis Picabia and received a Master of Arts in art history from New York University's Institute of Fine Arts.

As Pearlstein's career evolved, he became known for his realistic nudes and landscapes. Many of Pearlstein's paintings were inspired by his travels to the western United States, Peru, Egypt, and to Italy as a 1958 Fulbright Grant recipient. His work has been exhibited throughout the United States and internationally, and he has worked closely with the Tanager and Alan Frumkin Galleries in New York. In addition to his painting career, Pearlstein was an instructor at Pratt Institute from 1959 to 1963 and at Brooklyn College from 1963 to 1988. He is also a member of the National Academy of Design and the American Academy of Arts and Letters, serving as president from 2003 to 2006.

Pearlstein continues to work and live in New York, N.Y.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Philip Pearlstein conducted by Paul Cumming, June 8 to August 10, 1972.
Provenance:
The papers were donated in multiple installments by Philip Pearlstein from 1975 to 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Rights:
Authorization for commercial use of audiovisual material for the documentary Philip Pearlstein Draws the Artists' Model requires prior arrangement with Pearlstein or his heirs.
Topic:
Architecture -- Egypt  Search this
Architecture, Roman  Search this
Art -- Study and teaching  Search this
Art teachers -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Interviews
Motion pictures (visual works)
Photographs
Scrapbooks
Sketches
Slides (photographs)
Sound recordings
Transcripts
Video recordings
Citation:
Philip Pearlstein papers, circa 1940-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.pearphil
See more items in:
Philip Pearlstein papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pearphil

James McNeill Whistler collection, 1863-1906

Creator:
Whistler James McNeill, 1834-1903  Search this
Subject:
Anderson, Christine  Search this
Boehm, Joseph Edgar, Sir  Search this
Beck, J. W.  Search this
Burnett, Frances Hodgson  Search this
Bronson, Katharine de Kay  Search this
Burnett, Swan M. (Swan Moses)  Search this
Lee, George Washington Custis  Search this
Ford, Sheridan  Search this
Leighton of Stretton, Frederic Leighton, Baron  Search this
Lee, Robert E. (Robert Edward)  Search this
Lucas, George A.  Search this
Pollitt, Herbert Charles Jerome  Search this
Wilde, Oscar  Search this
Company of the Butterfly  Search this
World's Columbian Exposition  Search this
Royal Academy of Arts (Great Britain)  Search this
Salon (Exhibition : Paris, France)  Search this
Salon des refusés  Search this
Type:
Postcards
Pamphlets
Topic:
Painting, American  Search this
Art dealers -- France -- Paris  Search this
Etchers  Search this
Record number:
(DSI-AAA_CollID)9349
(DSI-AAA_SIRISBib)211545
AAA_collcode_whisjame2
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211545
Online Media:

Ira and William Glackens papers, circa 1900-1990

Creator:
Glackens, Ira, 1907-1990  Search this
Glackens, William J. (William James), 1870-1938  Search this
Subject:
Prendergast, Maurice Brazil  Search this
Perlman, Bennard B.  Search this
Prendergast, Eugénie  Search this
Schwab, Arnold T.  Search this
Shinn, Everett  Search this
Sloan, Helen Farr  Search this
Luks, George Benjamin  Search this
Glackens, William J.  Search this
Barnes, Laura L.  Search this
Barnes, Albert C. (Albert Coombs)  Search this
Bullard, E. John(Edgar John)  Search this
Buckley, Charles E.  Search this
Dimock, Ira  Search this
Glackens, Edith  Search this
Fitzgerald, Irene Dimock  Search this
Kuhn, Walt  Search this
Liff, Vivian  Search this
Morse, Stearns  Search this
National Gallery of Art (U.S.)  Search this
Kraushaar Galleries  Search this
Williams College. Museum of Art.  Search this
Delaware Art Museum  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Type:
Photographs
Sound recordings
Writings
Topic:
Illustrators -- Pennsylvania -- Philadelphia  Search this
Authors -- Pennsylvania -- Philadelphia  Search this
Painting, American  Search this
Eight (Group of American artists) -- Photographs  Search this
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- United States  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Record number:
(DSI-AAA_CollID)7175
(DSI-AAA_SIRISBib)209312
AAA_collcode_glacwill
Theme:
Art Movements and Schools
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209312
Online Media:

Robert Laurent papers

Creator:
Laurent, Robert, 1890-1970  Search this
Names:
Avery, Milton, 1885-1965  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Bellows, George, 1882-1925  Search this
Berenson, Bernard, 1865-1959  Search this
Bluemner, Oscar, 1867-1938  Search this
Calder, Alexander, 1898-1976  Search this
Careas, Jean  Search this
Courtois, Gustave, 1852-1923  Search this
Dasburg, Andrew, 1887-1979  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Field, Hamilton Easter  Search this
Fiene, Ernest, 1894-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Gross, Chaim, 1904-1991  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hart, George Overbury, 1868-1933  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hope, Henry R. (Henry Radford), 1905-  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Laurent, John, 1921-  Search this
Lipchitz, Jacques, 1891-1973  Search this
McBride, Henry, 1867-1962  Search this
McFee, William  Search this
Nadelman, Elie, 1882-1946  Search this
Pascin, Jules, 1885-1930  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Rattner, Abraham  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Smith, David, 1906-1965  Search this
Soyer, Raphael, 1899-1987  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Strater, Henry, 1896-  Search this
Zorach, William, 1887-1966  Search this
Extent:
3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))
Type:
Collection descriptions
Archival materials
Date:
1869-1973
Scope and Contents:
Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.
REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.
REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.
REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.
REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.
REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.
REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.
REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.
UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.
Biographical / Historical:
Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.
Provenance:
Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.
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.
Occupation:
Etchers  Search this
Painters  Search this
Sculptors  Search this
Topic:
Painting, Modern -- 20th century  Search this
Sculpture, Modern -- 20th century  Search this
Etching, Modern -- 20th century  Search this
Identifier:
AAA.laurrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-laurrobe

Eastman Johnson letters

Creator:
Johnson, Eastman, 1824-1906  Search this
Names:
Benson, Eugene, 1837-1908  Search this
Lanman, Charles, 1819-1895  Search this
Leutze, Emanuel, 1816-1868  Search this
McEntee, Jervis, 1828-1891  Search this
Ordway, Alfred T., 1819-1897  Search this
Wolf, Henry, 1852-1916  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1851-1899
Summary:
The letters of Eastman Johnson measures 0.2 linear feet and contains 12 items that date from 1851 to 1899. The letters provide scattered documentation of his career as a painter and printmaker.
Scope and Content Note:
The letters of Eastman Johnson measures 0.2 linear feet and contains 12 items that date from 1851 to 1899. The letters provide scattered documentation of his career as a painter and printmaker.

The collection includes a letter to Mr. Champney concerning a painting by Eugene Benson, a letter to Charles Lanman, personal Secretary to Daniel Webster, a letter to Alfred Ordway, artist and Director of Paintings at the Boston Athenaeum, a letter to friend and patron John Coyle, and a letter to Mr. Cozzens concerning a painting which was already sold. Also found are two letters to artist and close friend Jervis McEntee, a letter to an unidentified Mrs. P, stating that he must go to Albany before starting another picture, a letter to Mr. Clark concerning a portrait, and a letter to Dr. Hochheimer regarding a print by Henry Wolf after one of Johnson's paintings. Also included in the collection is an oversize letter, written by Johnson in Dusseldorf, to his friend Charlotte Child, in which he speaks of his impressions of Germany, mutual friends, and working in Leutze's studio.
Arrangement:
Due to the small size of this collection, items are categorized into one series consisting of two folders. Items are arranged chronologically.
Biographical Note:
American painter and printmaker Jonathan Eastman Johnson was born in Lovell, Maine in 1824. After apprenticing with a Boston lithographer, he moved to Washington D.C. in 1845 and became a portraitist of prominent Americans, including Daniel Webster and Dolly Madison. Beginning in 1849, Johnson spent two years at the Royal Academy in Dusseldorf, Germany, studying with Emanuel Leutze, and three years at The Hague. After returning to America in 1855, he settled in New York and focused on painting American genre subjects including Native Americans, African Americans, and farmers. He married Elizabeth Buckley in 1869, and they bought a home in Nantucket where he spent every summer for the rest of his life. After 1880, as the popularity of genre paintings declined, Johnson focused again on portraiture. He died in 1906.
Provenance:
Items were donated in 1979 by Caroline Johnson Brown, Johnson's grand-niece, in 1976 by Letitia Howe, and by Charles E. Feinberg, an active donor to the Archives of American Art between 1955 and 1962, and were microfilmed after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Eastman Johnson letters are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Portrait painters -- New York (State) -- New York  Search this
Painting, Modern -- 19th century -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Citation:
Eastman Johnson letters, 1851-1899. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.johneast
See more items in:
Eastman Johnson letters
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johneast
Online Media:

Alma Thomas papers

Creator:
Thomas, Alma  Search this
Names:
Art in Embassies Program (U.S.)  Search this
Martha Jackson Gallery  Search this
Bader, Franz, 1903-1994  Search this
Breeskin, Adelyn Dohme, 1896-1986  Search this
Johnson, Nathalie J. Cole  Search this
Sarg, Tony, 1882-1942  Search this
Tarbary, Celine  Search this
Taylor, Joshua Charles, 1917-  Search this
Thomas, J. Maurice (John Maurice), 1900 or 1901-  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Audiocassettes
Video recordings
Photographs
Date:
circa 1894-2001
Summary:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.
Scope and Contents note:
The papers of Washington, D.C. painter and art educator Alma Thomas, date from circa 1894-2001 and measure 5.5 linear feet. The papers document Thomas's work as a teacher, and her development and success as a painter of the Washington Color School, through biographical material, letters, notes and writings, personal business records, exhibition files, printed materials, scrapbooks, photographs, an audio recording, and two video recordings.

Biographical material includes identity cards, chronologies, an audio recording including a biographical account, and scattered documentation of Thomas's education and teaching careers with D.C. Public Schools, Howard University, and Thomas Garrett Settlement in Wilmington, Delaware. Also found are records relating to Thomas's participation in a summer marionette class taught by Tony Sarg in 1934, and a tour of European art centers which Thomas took in 1958.

Letters relate primarily to the exhibition of Thomas's work and related events and are from galleries, museums, other art institutions, colleagues, and friends including Franz Bader, Adelyn Breeskin, Corcoran Gallery of Art, Howard University Gallery of Art, Martha Jackson Gallery, Nathalie J. Cole Johnson, Vincent Melzac, Celine Tabary, and Joshua Taylor.

Notes and writings include four notebooks and autobiographical writings by Thomas, a "Birthday Book," and an annotated engagement calendar. J. Maurice Thomas's writings about Alma Thomas, her research for a bibliography on James Weldon Johnson, and writings by others, including Jacob Kainen, about Alma Thomas, are also found here.

Exhibition files contain a wide variety of documentation for many group and solo exhibitions of Thomas's work from the early 1950s through a 1998-2000 traveling retrospective exhibition, including solo exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in 1972. The records include letters from Franz Bader Gallery, David Driskell at Fisk University, and Vincent Melzac. Photographs include Thomas with individuals including William Buckner, Jeff Donaldson, David Driskell, James W. Herring, and Vincent Melzac. Also found is a photograph of the 1951 Little Paris Studio Group picturing Lois Mailou Jones, Celine Tabary, Alma Thomas, and others. Two video recordings are of events related to the 1998-2000 retrospective at the Fort Wayne Museum of Art and the Columbus Museum of Art. Records documenting a 1981-1982 exhibition at the Smithsonian National Museum of American Art, A Life in Art: Alma Thomas, includes the script of a video written by Adolphus Ealey.

Personal business records include price lists, gift and loan receipts, and files concerning the Art in Embassies Program, the Martha Jackson Gallery, a benefit auction for the Corcoran School of Art, and the designation of the Thomas family home in Washington, D.C. as a historic property.

Eleven scrapbooks document Thomas's teaching career through the activities of the art classes she taught at Shaw Junior High School.

Printed materials include announcements and catalogs for exhibitions and other events; clippings which document Thomas's career and subjects of interest to her; Christmas cards featuring block prints designed by Thomas; and other programs and publications featuring Thomas.

Photographs are of Alma Thomas, family, and friends and colleagues including Sam Gilliam, James V. Herring, and Nathalie V. Cole Johnson; art classes taught by Thomas; Thomas's homes in Columbus, Georgia and Washington, D.C.; and exhibitions not documented in Series 4: Exhibition Files, including photographs of Alma Thomas at an opening at Barnett Aden Gallery with Alonzo Aden and others.
Arrangement note:
The papers have been arranged into 8 series:

Series 1: Biographical Material, 1911-2001 (Box 1; 0.5 linear feet)

Series 2: Letters, circa 1930-2001 (Boxes 1-2; 0.6 linear feet)

Series 3: Notes and Writings, circa 1920s-circa 1998 (Box 2; 0.7 linear feet)

Series 4: Exhibition Files, 1951-2000 (Boxes 2-3, OV 7; 0.8 linear feet)

Series 5: Personal Business Records, circa 1950s-1994 (Box 3; 0.2 linear feet)

Series 6: Printed Material, circa 1908-2000 (Boxes 3-5, OV 7; 1.8 linear feet)

Series 7: Scrapbooks, 1930-1946 (Box 5; 0.3 linear feet)

Series 8: Photographs, circa 1894-2001 (Boxes 5-6; 0.6 linear feet)
Biographical/Historical note:
Washington, D.C. painter and art educator Alma Thomas (1891-1978) was known for her abstract paintings filled with dense patterns of color, and was considered a major artist of the Washington Color School.

Thomas was born in Columbus, Georgia, in 1894, and was the eldest of the four daughters of John Harris Thomas and Amelia Cantey Thomas. The family moved to Washington, D.C. in 1906 and Thomas was first introduced to art classes at Armstrong Technical High School. Following her graduation in 1911 she took a course in kindergarten teaching at the Miner Normal School, and subsequently worked as a substitute teacher in the Washington, D.C. public school system until 1914, when she took a teaching position on the Eastern shore of Maryland. From 1916 to 1923 she taught kindergarten at Thomas Garrett Settlement House in Wilmington, Delaware.

Thomas originally enrolled at Howard University in Washington, D.C. as a home economics major in 1921, but after studying under Lois Mailou Jones amd James V. Herring in Herring's newly established art department, she earned a Bachelor's degree in Fine Art in 1924, and became the first person to graduate from the program. Thomas then began her teaching career at Shaw Junior High School in Washington, D.C. that lasted from 1924, until her retirement in 1960. During this time she established community arts programs that would encourage her students to develop an appreciation of fine arts. Activities included marionette programs, distribution of student-designed holiday menu cards for dinners given for soldiers at the Tuskegee Veterans' Hospital, art clubs, lectures, and student exhibitions. In 1943 she became the founding vice president of Barnett Aden Gallery, which was established by James V. Herring and Alonzo Aden and was the first integrated gallery in Washington, D.C.

In 1934 Thomas earned an M.A. degree in Art Education from Columbia University. At American University in Washington, D.C., she studied creative painting under Joe Summerford, Robert Gates, and Jacob Kainen from 1950 to 1960, and began to break away from representational painting and experiment more seriously with Abstract Expressionism. In 1958 she participated in a tour of the art centers of Western Europe under the auspices of the Tyler School of Fine Arts at Temple University in Philadelphia.

Following her retirement from teaching in 1960, Thomas devoted herself full-time to painting, and continued to develop her signature style. She was inspired by nature and the desire to express beauty through composition and color, and refused to be constrained by societal expectations related to her race, gender, and age, achieving her greatest success in the last decade of her life. Her work was exhibited at the Dupont Theatre Art Gallery, Franz Bader Gallery, and the Howard University Gallery of Art, before she was honored in 1972 with exhibitions at the Whitney Museum of American Art and the Corcoran Gallery of Art in Washington, D.C.

Thomas's work has been exhibited at the White House and can be found in the permanent collections of major museums, including the Metropolitan Museum of Art, the National Museum of Women in the Arts, and the Smithsonian American Art Museum.
Separated Materials note:
In 1979, J. Maurice Thomas loaned papers for microfilming. Most, but not all, of the loaned material was later donated and is described in this finding aid. Loaned materials not donated at a later date are available on reels 1541-1543 and are not described in the container listing of this finding aid.
Provenance:
J. Maurice Thomas, the artist's sister, loaned portions of the collection for microfilming in 1979. Most, but not all of this material was then later donated in several accretions by J. Maurice Thomas, between 1979 and 2004. Charles Thomas Lewis, Thomas' nephew, gave additional papers in 2010.
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 copies requires advance notice.
Rights:
The Alma Thomas papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- Washington (D.C.)  Search this
Educators -- Washington (D.C.)  Search this
Topic:
Painting, American  Search this
African American artists  Search this
Women artists  Search this
Washington Color School (Group of artists)  Search this
Genre/Form:
Scrapbooks
Audiocassettes
Video recordings
Photographs
Citation:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.thomalma
See more items in:
Alma Thomas papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-thomalma
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Charles H. Woodbury papers

Creator:
Woodbury, Charles H. (Charles Herbert), 1864-1940  Search this
Names:
Curran, Charles C. (Charles Courtney), 1861-1942  Search this
Woodbury, Marcia Oakes, 1865-1914  Search this
Extent:
1.6 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Place:
Ogunquit (Me.) -- Description and Travel
Date:
1866-1939
Scope and Contents:
Biographical material, correspondence, writings, sketchbooks, art works, a scrapbook, printed material, photographs, negatives and videos relating to Charles Woodbury's travels, artwork and teachings.
REEL 1255: Biographical material includes a brief handwritten chronology and an expanded autobiographical account; correspondence is with J. Eastman Chase, George Wharton Edwards, Benjamin Kimball, William James, Hugh H. Breckenridge, Cyrus Dallin, Charles Curran, John Taylor Arms and others; writings include six typescripts of Ogunquit School Saturday morning lectures and criticisms of students' work, and an "exhibition book," containing handwritten lists of paintings exhibited and prices; art work includes drawings, seven sketchbooks, and seven oil paintings; and a scrapbook, containing clippings, photographs, programs, catalogs, announcements and memorabilia.
REEL 1271: Fifteen photographs, ca.1866-1930s, of Woodbury, the exterior and interior of his Ogunquit home, and his studio.
UNMICROFILMED: Correspondence includes numerous letters from Charles and Marcia Woodbury to Woodbury's mother while the couple travelled abroad and in Canada.
Handwritten and typed drafts for the books Paintings and Personal Equations (with notes from this series of lectures) and Putting on Paint and a chapter on The Public; a sketch of an artist at work; two photographs of Woodbury's Ogunquit home; three photographic negatives of Woodbury, seven negatives his outdoor art classes at Ogunquit, and seven of a small child. Artwork includes three oil studies; a sketchbook titled Landskape, 1892. Printed material includes clippings, a photocopy of an article on Woodbury from The American Magazine of Art, and an exhibition announcement.
A VHS video of scenes from Ogunquit, 1939, transferred from 16mm motion picture, and a VHS video published by MIT using the same footage as well as footage of Woodbury's paintings, used as a video exhibit entitled Charles H. Woodbury N.A.: Artist and Teacher, 1864-1940, narrated by Noel Harrison.
Biographical / Historical:
Marine painter, instructor, writer, etcher, illustrator; Ogunquit, Me. Born in Lynn, Mass. Studied engineering at MIT (1882-1886) while continuing to paint and exhibit. Upon graduation he began teaching art. Woodbury married a pupil, Marcia Oakes, in 1890 and travelled often to Europe to paint, frequently to Holland. In 1897, he built a studio in Ogunquit, Maine, and began offering summer classes in 1898.
His successful school turned Ogunquit into a major art colony. Woodbury wrote three books on the subject of teaching art; one with his teaching collaborator, art patron Elizabeth Ward Perkins.
Provenance:
Material on reels 1255 and 1271 was lent for microfilming by Woodbury's son David in August 1977, and was subsequently donated in 1986 by his widow, Ruth, along with unmicrofilmed material, with the exception of the drawings (frames 747-775) and the scrapbook (frames 1333-1471), which she retained. The videos were donated 1989 by Woodbury's grandson, Peter.
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.
Occupation:
Art teachers -- Maine -- Ogunquit  Search this
Marine painters -- Maine -- Ogunquit  Search this
Topic:
Art -- Study and teaching -- Maine -- Ogunquit  Search this
Artist colonies -- Maine -- Ogunquit  Search this
Painting, American -- Maine -- Ogunquit  Search this
Genre/Form:
Sketchbooks
Video recordings
Identifier:
AAA.woodchah
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodchah

John Davis Hatch papers

Creator:
Hatch, John Davis  Search this
Names:
St. John's College (Annapolis, Md.) -- Students  Search this
University of Massachusetts -- Faculty  Search this
University of Oregon -- Faculty  Search this
Bluemner, Oscar, 1867-1938  Search this
Browne, Henry Kirke  Search this
Callahan, Kenneth, 1905-1986  Search this
Clark, Ezra  Search this
Cranch, John, 1807-1891  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Granger, C. H.  Search this
Guy, Seymour J., 1824-1910  Search this
Harvey, George W., 1855-  Search this
Hatch, Olivia Stokes  Search this
Henry, Edward Lamson, 1841-1919  Search this
Inman, Henry, 1801-1846  Search this
McNeill, Lloyd  Search this
Peale, Rembrandt, 1778-1860  Search this
Scott, Julian  Search this
Trumbull, John, 1756-1843  Search this
Vanderlyn, John, 1775-1852  Search this
Extent:
24.9 Linear feet
Type:
Collection descriptions
Archival materials
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Date:
1790-1995
Summary:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization, and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.
Scope and Content Note:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.

Scattered biographical materials include an invitation to the Hatch's anniversary party in 1964, short biographical sketches and resumes, certificates, report cards, a silhouette of the Hatch Family circa 1904, and a typecript of a diary written by Olivia Hatch as a child.

Correspondence includes professional correspondence between Hatch and colleagues; letters from family and friends; and some materials regarding exhibitions from the Hatch Collection. The bulk of correspondence spans Hatch's professional career although there are scattered letters from 1915-1943 from Hatch to his parents. Also found are letters addressed to an unidentified "Henry." Correspondence is also found in the research files.

Personal business and financial records consist of inventories, bills, receipts, and other records for artworks purchased, loaned, or donated by Hatch. Also found are records from the J. D. Hatch Associates Cultural Consultants, a draft of Hatch's will, stock and tax materials, and travel papers and passports.

Scattered diaries and journal fragments and a transcript date from 1925-1965. Thirteen "Daily Reflection Journals" date from 1975-1987.

Research files on artists and subjects are extensive, comprising one-half of the collection. Files are varied and may include primary research materials, correspondence, printed materials, notes, and writings. Some of the artists' letters and other materials dated from 1790-early 1800s may have been purchased by Hatch. Among many other items, there is an illustrated letter written by Oscar Bluemner and photographs of Bluemner; primary research materials dating from the early 1800s on John Vanderlyn including a will, receipts, and correspondence; a letter from Rembrandt Peale dated 1830, and an autograph letter from John Trumbull dated 1790. Also found is an index card file.

Organization files contain files and records related to Hatch's affiliations with many cultural organizations. A small amount of teaching and education files consist of Hatch's notes and lectures from the University of Oregon and the University of Massachusetts, and from his continuing education courses he took at St. John's College. Writings and notes include short essays by Hatch, mostly concerning art, exhibitions and museum administration; book reviews; general notes, lists, and reports.

Printed Materials are comprised of exhibition catalogs and announcements, including those from the American Drawing Annual in the 1940s-1950s; printed articles annotated by Hatch; clippings; pricelists; and published works.

A small number of photographs are of Hatch, some by Dorothy Frazer; of his family and friends; and of artists. The bulk of the photographs are of works of art including those owned by Hatch.

Artwork includes two sketchbooks - one by Kenneth Callahan and another by Lloyd McNeill; and additional drawings and sketches by Julian Scott, Henry Kirke Browne, Kenneth Callahan, Ezra Clark, John Cranch, Jasper Francis Crospey, F. O. C. Darley, C. H. Granger, Seymour J. Guy, George Harvey, Edward Lamson Henry, Henry Inman, as well as unsigned or illegible names.
Arrangement:
The collection is arranged as 11 series:

Series 1: Biographical Information, circa 1900-1980s (Box 1; 8 folders)

Series 2: Correspondence, 1903-1990s (Box 1-3; 2 linear feet)

Series 3: Personal Business and Legal Records, Date (Box 3; 0.3 linear feet)

Series 4: Diaries and Journals, 1925-1987 (Box 3, 23; 1.2 linear feet)

Series 5: Research Files, 1790-1992 (Box 3-13, 20-21, 24; 12.7 linear feet)

Series 6: Organization Files, 1930s-1990s (Box 13-14; 1.0 linear feet)

Series 7: Teaching and Education Files, 1930s-1993 (Box 14-15; 1.0 linear feet)

Series 8: Writings and Notes, 1936-1990s (Box 15; 0.3 linear feet)

Series 9: Printed Material, 1870s-1990s (Box 15-19, 22, 25-26, OV1; 5.9 linear feet)

Series 10: Photographs, circa 1900-1990s (Box 22; 0.2 linear feet)

Series 11: Artwork, 1851-1973 (Box 22; 0.3 linear feet)
Biographical Note:
Art historian, collector, educator, and museum administrator John Davis Hatch (1907-1996) worked in the Boston and New England area, as well as the Pacific Northwest, and New York state. Hatch served as director of the Art Institute of Seattle, the Isabella Stewart Gardner Museum, the Albany Institute of Art and History, and the Norfolk Museum of Art and Sciences.

John Davis Hatch was born in San Francisco, California in 1907. His father, grandfather, and great-grandfather were architects and Hatch studied landscape architecture at the University of California, Berkeley. He served as an apprentice to Lockwood de Forest. After abandoning landscape architecture, he accepted a position as director of the Seattle Fine Arts Society (1928-1931) at the age of twenty-one and taught art history courses at the University of Washington.

In 1932, Hatch accepted the position of assistant director of the Isabella Stewart Gardener Museum in Boston, Massachusetts. He also directed the federal Public Works of Art Project in New England. Additionally, Hatch served from 1940-1948 as director of the Albany Institute of Art and History and from 1950-1959 of the Norfolk Museum of Arts and Sciences. Hatch worked as an art advisor for exhibitions at five historically African-American colleges in Atlanta and in San Simeon in California. He founded the American Drawing Annual exhibition.

Hatch conducted extensive research on artists Oscar Bluemner and John Vanderlyn, American silverwork, and American drawing. In addition, Hatch collected American drawings and later donated many of works of art from his personal collection to the National Gallery in Washington, D.C. Aside from his early teaching in Washington state, Hatch taught at the University of Massachusetts and the University of Oregon. He was a member of numerous professional arts-related organizations.

In 1939, Hatch married Olivia Stokes with whom he had four children: Sarah, John, Daniel and James. He died in 1996.
Related Material:
The Archives of American Art holds two oral history interviews with John Davis Hatch: June 8, 1964 conducted by H. Wade White and 1979-1980 conducted by Robert F. Brown. Also found is a separately cataloged photograph of Hatch and Henry Francis Taylor from 1933.

Additional research materials complied by Hatch are located in the Albany Institute of History and Art, the Metropolitan Museum, the library of the National Gallery of Art, and the Senate House, Kingston, New York.

Hatch donated two hundred and seventy American drawings to the National Gallery of Art in Washington, D.C.
Separated Material:
Four books annotated by Bluemner, a letter from Bluemner, a letter from A. Stieglitz to Bluemner, photographs of works of art, and exhibition materials were removed from the papers and merged with the Oscar Bluemner papers at the Archives of American Art.
Provenance:
John Davis Hatch and the John Davis Hatch estate donated his papers to the Archives of American Art in several installments between 1960-1996. Many of the primary materials relating to John Vanderlyn were acquired by Hatch from a photographer in Kingston, New York who received them from a niece of Vanderlyn. Robert Graham of James Graham and Sons gave Vanderlyn's will to Hatch.
Restrictions:
Use of originals requires an appointment.
Rights:
The John Davis Hatch papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, American  Search this
Drawing, American  Search this
Art, American  Search this
Artists -- United States  Search this
Art historians -- Massachusetts  Search this
Art -- Collectors and collecting  Search this
Art, American -- Study and teaching  Search this
Genre/Form:
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Citation:
John Davis Hatch, 1790-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hatcjohn
See more items in:
John Davis Hatch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hatcjohn

Kamekichi Tokita Papers

Creator:
Tokita, Kamekichi  Search this
Names:
Art Institute of Seattle  Search this
Henry Art Gallery  Search this
Hotel Cadillac (Seattle, Wash.)  Search this
Minidoka Relocation Center  Search this
Public Works of Art Project  Search this
Seattle Art Museum  Search this
Baker, Burt Brown  Search this
Boynton, Roy  Search this
Callahan, Kenneth, 1905-1986  Search this
Tokita, Elsie  Search this
Tokita, Shokichi  Search this
Extent:
1.5 Linear feet
Type:
Collection descriptions
Archival materials
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Date:
circa 1900-circa 2010
bulk 1900-1948
Summary:
The scattered personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.
Scope and Contents:
The scattered personal papers of Seattle area painter Kamekichi Tokita (1897-1948) measure 1.5 linear feet and date from circa 1900 to circa 2010 with the bulk of the material dating from circa 1910 to 1948. The papers include biographical materials, including documents about the closing of the War Relocation Authority's Minidoka Camp in Idaho; correspondence; three diaries written in Japanese documenting Tokita's war time experiences and relocation to Minidoka, two earlier notebooks, also written in Japanese, and scattered notes; a few personal business records; printed materials; one scrapbook; sketches; and one family photograph album.

Biographical materials include a file on the Public Works of Art Project, a file on the War Relocation Authority and the closing of the Minidoka internment camp, an immigration document, and an essay on Tokita written by Shokichi and Elsie Tokita.

Correspondence is primarily professional in nature and concerns exhibitions at the Seattle Museum of Art (previously the Art Institute of Seattle) and other topics. Correspondents include Burt Brown Baker, Roy Boynton, Kenneth Callahan, Henry Gallery, the Seattle Art Museum, and others.

Tokita's writings consist of three diaries, two notebooks, and scattered general writings, most of which are in Japanese. The diaries were kept during World War II and document the family's confinement at the Minidoka Relocation Camp in Idaho. Included is a transcript of the diaries which were translated from prewar to modern Japanese by Haruo Takasugi and from modern Japanese to English by Naomi Kusunoki-Martin.

Scattered business records include a patent application, records from the Cadillac Hotel, and a claim filed through the Department of Justice. A few published books in English and Japanese are about art and religion. Also found are exhibition catalogs for shows in which Tokita participated and clippings. There is one mixed media scrapbook about Tokita's exhibitions.

Artwork consists of unsigned pencil and watercolor sketches by Tokita. There is also a family photo album containing snapshots and portraits of the Tokita family and friends.
Arrangement:
The collection is arranged as 8 series:

Series 1: Biographical Material, 1934-1985 (Box 1; 4 folders)

Series 2: Correspondence, circa 1920-1944 (Box 1; 6 folders)

Series 3: Writings and Notes, 1923-circa 1950 (Box 1; 0.2 linear feet)

Series 4: Personal Business Records, 1928-1950 (Box 1; 3 folders)

Series 5: Printed Material, circa 1910-1940 (Box 1-3; 0.5 linear feet)

Series 6: Scrapbook, 1929-1933 (Box 2-3; 0.1 linear feet)

Series 7: Artwork, circa 1910-1940s (Box 2-3; 0.1 linear feet)

Series 8: Photograph Album, circa 1900-1930 (Box 2; 0.2 linear feet)
Biographical / Historical:
Kamekichi Tokita (1897-1948) was a painter and businessman who emigrated from Japan in 1919 and settled in Seattle, Washington. Tokita was a member of the Seattle area progressive artists' collective known as the "Group of Twelve" and widely exhibited his artwork throughout the Pacific Northwest.

Kamekichi Tokita was born in Shizouka City, Japan and immigrated to the United States at the age of twenty-two. He settled in the Japantown neighborhood of Seattle, Washington where he opened the Noto Sign Company with business partner Kenjiro Nomura. Nomura was also an artist and encouraged Tokita's interest in oil painting. They both used the sign shop as their studio after-hours. In 1936, the Noto Sign Company closed and Tokita took over management of the Cadillac Hotel, although he continued to paint commercial signs. Tokita married Haruko Suzuki in 1932 and together they had eight children.

As a child in Japan, Tokita studied calligraphy in China. Although he attended a few art school classes in in the U.S. and went on weekend painting trips with Nomura and other Seattle artists, Tokita is considered to be a largely self-trained artist. Support and recognition came from Dorothy V. Morrison of the Henry Gallery at the University of Washington who wrote to Tokita to inquire whether a "group of Japanese artists in the city" would be interested in exhibiting their work. Although the exhibition of Japanese artists did not happen, Tokita later loaned paintings to the gallery for inclusion in an exhibition sponsored by the American Federation of Arts. Throughout the late 1920s and 1930s Tokita exhibited widely in the Seattle area. In 1935, the Seattle Daily Times touted the work of Tokita and other painters in the "Group of Twelve" that also included Morris Graves, Kenneth Callahan, Walter F. Isaacs, and Ambrose and Viola Patterson, among others. In 1942, after the bombing of Pearl Harbor, Kamekichi Tokita and his family (five children at the time), along with the 110,000 – 120,000 Japanese and Japanese-American citizens living on the West Coast, were ordered under President Franklin Roosevelt's Executive Order 9066 to relocate to one of several confinement camps. For the first six months of their confinement, the family lived at a temporary Civilian Assembly Center in Puyallup, Washington. They were transferred to the Minidoka Relocation Camp in Hunt, Idaho where they remained until their release in 1945. The confinement camps were organized much like communes and independent cities (fenced and guarded) where the residents were self-reliant for most of their basic necessities, including schooling. While interned in Minidoka, Tokita worked as a sign painter and continued to privately paint, using whatever materials he could find, including beaver board. His work was featured in art shows at the camp. Many of his camp scenes are now lost or were given away.

At the end of World War II, Tokita and his family (now seven children) moved back to the Seattle-area. Unable to find housing, the Tokitas lived at a Japanese language school until Tokita was able to re-establish his business. During this period he painted very little. In 1946 Tokita and his wife purchased the New Lucky Hotel in the Chinatown area of Seattle. Shortly thereafter, Tokita fell ill and died in 1948. Many of his works are believed to have been destroyed or lost. Some of his work remains, however, and is among the permanent collections of the Seattle Art Museum, the Tacoma Art Museum, the Portland Art Museum.

Note: Much of this biographical note was taken from "A Biographical Resume" written by Shokichi and Elsie Y. Tokita.
Separated Materials:
A watercolor painting on paper by Kamekichi Tokita, Untitled (Still Life), 9 x 12 in. was transferred to the Smithsonian American Art Museum in 2012.
Provenance:
The Kamekichi Tokita papers were donated by his son, Shokichi Tokita in 1990. He donated a third and final diary in 2017. They were collected as part of the Archives of American Art Northwest Asian American project in Seattle, Washington.
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. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Kamekichi Tokita papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters -- Washington (State) -- Seattle  Search this
Topic:
Art, American -- Northwestern States  Search this
World War, 1939-1945 -- Japanese Americans  Search this
Japanese Americans -- Evacuation and relocation, 1942-1945 -- Diaries  Search this
Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this
Art, Modern -- 20th century -- Northwestern States  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese Americans  Search this
Genre/Form:
Photograph albums
Photographs
Sketches
Scrapbooks
Diaries
Citation:
Kamekichi Tokita papers, circa 1900-circa 2010, bulk circa 1910-1948. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.tokikame
See more items in:
Kamekichi Tokita Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-tokikame

Sidney Delevante papers

Creator:
Delevante, Sidney, 1894-  Search this
Names:
Bishop, Isabel, 1902-1988  Search this
Kitaj, R. B.  Search this
Extent:
1 Linear foot ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Date:
1922-1978
Scope and Contents:
Correspondence; biographical data; writings; photograph; exhibition catalogs and announcements; and clippings.
REEL N68-114: Correspondence, 1922-1968. 3 volumes of letters.
REEL N69-3: Correspondence with galleries; brochures and exhibition notices; lecture and teaching data; and reviews.
REEL 1927: Correspondence with Isabel Bishop, Ronald Kitaj and others; typescript of "My Testament"; catalogs; clippings; and Delevante's book of poetry and drawings, GALUMPS AND COMPANY.
REEL 3948: Biographical material; 3 letters, 1966-1968; clippings, 1961-1968; exhibition announcements and catalogs, 1955-1968; newsletters, 1961; school brochures, 1959-1964; and a photograph of a painting by Delevante, 1968.
UNMICROFILMED: Biographical data; copies of 4 letters; exhibition catalogs and announcements; newspaper clippings; 2 published books, 1963 and 1965, with verse and illustrations by Delevante; printed material; and a photograph of a painting by Delevante. Duplicates of some of this material appear on reel N/69-3.
Biographical / Historical:
Painter, educator; New York, N.Y. Painter of child-like, fantastic figures. Taught at Columbia University and Cooper Union.
Provenance:
Material on reel 1927 and unfilmed donated 1966-1979 by Sidney Delevante. Material on reels N68-114 and N69-3 lent for microfilming 1969 by Delevante. Material on reel 3948 donated 1984 by Syracuse University.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century  Search this
Identifier:
AAA.delesidn
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-delesidn

Alice Brown Chittenden papers

Creator:
Chittenden, Alice Brown, 1859 or 60-1944  Search this
Names:
Chittenden, Ann Miriam Green  Search this
Extent:
0.8 Items (linear ft.(on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1860-1972
Scope and Contents:
Correspondence; notebooks; drawings and sketches; financial logbook; scrapbook; exhibition catalogs; and photographs.
REEL 919: Correspondence; 2 school notebooks; 40 drawings and sketches; a financial logbook kept by Alice Chittenden; a scrapbook of clippings; and 6 exhibition catalogs.
REEL 950: 38 photographs of Chittenden's paintings and of her family, including some albumen cartes-de-visites; a photo album containing 125 photographs of her family and friends; 2 cased ambrotypes and 1 cased tintype of Chittenden as a child and 1 cased ambrotype and 1 cased tintype of her mother, Ann Miriam Green Chittenden, ca. 1860-1865.
Biographical / Historical:
Painter; San Francisco, Calif.
Provenance:
Donated 1974 by Virginia Larribeau, granddaughter of Alice B. Chittenden.
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.
Occupation:
Painters  Search this
Topic:
Painting, American -- California -- San Francisco  Search this
Women painters -- California  Search this
Identifier:
AAA.chitalic
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chitalic

Emmy Lou Packard Papers

Creator:
Packard, Emmy Lou, 1914-1998  Search this
Names:
American Civil Liberties Union  Search this
Public Works of Art Project  Search this
Covarrubias, Miguel, 1904-1957  Search this
Edmunds, John, 1913-  Search this
Kahlo, Frida  Search this
Lange, Dorothea  Search this
O'Gorman, Juan, 1905-  Search this
O'Higgins, Pablo, 1904-  Search this
Refregier, Anton, 1905-  Search this
Reynolds, Malvina  Search this
Rivera, Diego, 1886-1957  Search this
Extent:
9.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Date:
1900-1990
Summary:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.
Scope and Contents note:
The Emmy Lou Packard papers measure 9.4 linear feet and date from 1900 to 1990, and focus on the career of painter, printmaker, muralist, and sculptor Emmy Lou Packard. Also found are extensive materials relating to Packard's personal and professional relationship with muralist Diego Rivera and painter Frida Kahlo, with whom Packard lived for one year in Mexico. Papers include correspondence, financial records, notes, writings, exhibition files, photographs, and printed material.

Biographical materials include resumes, personal forms, and certificates. Correspondence is with family, friends, and colleagues, including muralist Anton Refregier, songwriter Malvina Reynolds, and composer John Edmunds. There is one letter from Dorothea Lange. Also found is correspondence with various political and arts organizations, such as the American Civil Liberties Union and the Russian magazine Soviet Woman. Much of the correspondence discusses personal relationships and political and art-related activities. Additional correspondence with and concerning Diego Rivera and Frida Kahlo is arranged in Series 6.

Personal business records found within the papers include studio real estate and rent records, insurance records, price lists for artwork, consignment records, and miscellaneous receipts. There is one interview transcript of an interview with Packard for the Radical Elders Oral History Project. The papers include a series of notebooks/diaries, address lists, and other notes.

Packard's reference files and personal papers documenting her professional and close personal relationship with Diego Rivera and Frida Kahlo are arranged into a separate series. They include her research files for a planned book on the two artists, personal letters between Packard and the couple, as well as several interesting photographs. Also found in this series are notes, writings, and printed materials relating to Diego Rivera, Frida Kahlo, and other Mexican artists, such as Covarrubius, Juan O'Gorman, and Pablo O'Higgins.

The collection also includes typescripts and additional writings by Packard and others. Artwork consists of orginal drawings and prints by Packard and others not directly associated with projects. Exhibition and project files for many of Packard's commissioned projects are also found within the collection, including her files for the restoration of Anton Refregier's Rincon Annex Post Office mural in San Francisco and the Coit Tower murals in San Francisco. Many of the project files contain correspondence, reports, contracts, printed material, photographs, and artwork.

The papers also include photographs of Packard, her family, residences, artwork, friends, and colleagues, including Cesar Chavez, Juan O'Gorman, Malvina Reynolds, Charles Safford, Ralph Stackpole, and Tennessee Williams. Two scrapbooks are found, as well as additional printed materials such as clippings and exhibition announcements and catalogs. There are also two artifact items, a vinyl record of Malvina Reynolds and a political campaign button.
Arrangement note:
The collection is arranged into fifteen series.

Series 1: Biographical Material, 1942-1985 (Box 1; 1 folder)

Series 2: Correspondence, 1919-1990 (Box 1-3; 2.6 linear feet)

Series 3: Personal Business Records, 1945-1985 (Box 3; 21 folders)

Series 4: Interview Transcript, 1979 (Box 3; 1 folder)

Series 5: Notes, 1900-1985 (Box 3-4, 10; 1.1 linear feet)

Series 6: Reference Files on Diego Rivera and Frida Kahlo, 1929-1986 (Box 5, 10, OV 11; 0.9 linear feet)

Series 7: Writings by Packard, 1953-1984 (Box 6; 17 folders)

Series 8: Writings by Others, 1955-1984 (Box 6; 19 folders)

Series 9: Artwork, 1921-1976 (Box 6; 10 folders)

Series 10: Exhibition Files, 1950-1964 (Box 6, OV 11; 5 folders)

Series 11: Project Files, 1953-1985 (Box 6-7, 10, OV 11; 1.8 linear feet)

Series 12: Photographs, 1914-1982 (Box 8, 10; 0.8 linear feet)

Series 13: Scrapbooks, 1947-1950 (Box 8, 10; 0.2 linear feet)

Series 14: Printed Material, 1936-1988 (Box 8-9, 10; 1 linear foot)

Series 15: Artifacts, 1984 (Box 9-10, OV 11; 2 folders)
Biographical/Historical note:
Emmy Lou Packard was born in Imperial Valley, California on April 15, 1914, to Walter and Emma Leonard Packard. In the late 1920s she lived with her family in Mexico City where she became acquainted with Diego Rivera, from whom she received regular art criticism and encouragement. She graduated from the University of California, Berkeley and completed courses in fresco and sculpture at the California School of Fine Arts in 1940. That year and the next, Packard worked as a full-time painting assistant to Rivera on his 1,650 square-foot fresco at the World's Fair in San Francisco. During this project, Packard became very close to Rivera and Frida Kahlo and returned to Mexico with them and spent a year living with the couple.

From then on, except for in 1944-1945 working for a defense plant, Packard worked and grew in various aspects of her art. In addition to her work in fresco, Packard is known for her work in watercolor, oil, mosaic, laminated plastic, concrete, and printmaking, both in linocuts and woodblocks. She received numerous commissions that included installations for ships, hotels, and private homes for which she executed large woodcuts and mural panels. During the 1950s and 1960s, Packard was hired to restore several historic murals, most notably the Rincon Annex Post Office mural by Anton Refregier and the Coit Tower murals in San Francisco.

Between 1966 and 1967 she was commissioned by architects to design and execute a number of concrete and mosaic pieces, one of which went to the Mirabeau Restaurant in Kaiser Center, Oakland. She also designed and executed a mural for the Fresno Convention Center Theater during that same period. In 1973-1974, she designed and supervised a glazed brick mural for a public library in Pinole, California.

Packard had one-woman shows at the San Francisco Museum of Art, Raymond and Raymond Gallery (San Francisco), Addison Gallery of American Art (Andover, Mass.), Connecticut Academy of Fine Arts, Pushkin Museum (Moscow), and March Gallery (Chicago). Emmy Lou Packard died in 1998.
Related Archival Materials note:
Also found in the Archives of American Art is an oral history interview with Emmy Lou Packard conducted by Mary Fuller McChesney in 1964.
Provenance:
Emmy Lou Packard donated her papers to the Archives of American Art from 1984-1988.
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.
Rights:
The Emmy Lou Packard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Sculptors -- California -- San Francisco  Search this
Topic:
Works of art  Search this
Printmakers -- California -- San Francisco  Search this
Painters -- California -- San Francisco  Search this
Mural painting and decoration, American  Search this
Mural painting and decoration, Mexican  Search this
Muralists -- California -- San Francisco  Search this
Genre/Form:
Scrapbooks
Sketches
Photographs
Interviews
Diaries
Citation:
Emmy Lou Packard papers, 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.packemmy
See more items in:
Emmy Lou Packard Papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-packemmy
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Online Media:

Julian E. Levi papers

Creator:
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Names:
American Artists' Congress  Search this
An American Group (Organization)  Search this
Downtown Gallery (New York, N.Y.)  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Sketches
Drawings
Photographs
Illustrated letters
Date:
1846-1981
Summary:
The papers of painter and teacher Julian E. (Edwin) Levi date from 1846 to 1981, and comprise 6.9 linear feet. They include biographical information and extensive correspondence with museums and galleries, as well as letters written to his family, circa 1927, while Levi was living in Paris. Also found within the papers are scattered drawings and sketches by Levi, writings and notes, financial records, two scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.
Scope and Content Note:
The papers of painter and teacher Julian E. Levi date from 1846 to 1981, and comprise 6.9 linear feet. They consist of biographical information, correspondence, artwork, writings and notes, financial records, scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Biographical information includes French documents regarding his trips to Paris in 1920 and 1926-1927. Julian E. Levi's Correspondence, 1914-1981, and undated, concerns professional and personal matters and consists primarily of incoming letters from friends and colleagues, arts organizations, museums, schools, and galleries. Also found are approximately sixty letters he wrote to his family circa 1927, while living in Paris. In addition, a small number of Henderson Family letters, 1846-1886, are included with the Julian E. Levi papers; their relationship to Levi is unclear. Found within the correspondence are illustrated letters and original artwork in the form of greeting cards. Additional Artwork consists mainly of pencil drawings and sketches by Levi, including a large number of stage costume designs.

Writings by Levi consist of brief statements concerning his work and other artists, brief reminiscences of friends, a poem, and the text of a speech. Notes contain miscellaneous jottings, lists of paintings, addresses and telephone information, and address books. Among the writings by others are catalog introductions for Levi exhibitions by unknown authors, and by Lewis Mumford and Archibald MacLeish for An American Group, Inc.

Financial Records concern both business and personal transactions and document art sales, commissions, consignments, and gallery expenses. Also included are receipts, a small number of banking and tax records, and scattered documentation of purchases, appraisals, and sales of antiques in his collection.

Scrapbooks (2 disbound volumes) contain clippings, other printed items, and a few photographs documenting Levi's exhibitions. There are a substantial number of exhibition catalogs and announcements. Miscellaneous printed material includes brochures, newsletters and publications, clippings, invitations, announcements of meetings, blank postcards, travel brochures and printed souvenirs. Also found is a copy of his book, Modern Art: An Introduction, and one of the articles he published in the American expatriate periodical Gargoyle.

Items of note among the Miscellaneous Records pertain to the American Artists' Congress, An American Group, Inc., Downtown Gallery, and New York City Council for Art Week. Other items of interest are a blueprint of plans for Levi's studio at his home in Easthampton, New York, and records regarding the New School for Social Research where Levi taught for many years.

Photographs of artwork include a disbound album of Levi's work and exhibition installation views that show paintings by Levi. Pictures of Levi include some taken when he was a young child, along with many views of him in his studio, with students, and others. Many views of places probably were used as reference for paintings. Other places recorded in photographs include Downtown Gallery, Stuart Davis's grave, and studios he occupied while in Paris, circa 1926-1927 and at the American Academy in Rome, 1967-1968. Of particular note are copies of Resettlement Administration and Farm Security Administration photographs.
Arrangement:
The collection is organized into 9 series. Correspondence and Scrapbooks are arranged chronologically. Other series are further categorized by record type or broad topic, with material in each folder arranged chronologically or alphabetically, as noted in the series descriptions.

Series 1: Biographical Information, circa 1906-1980 (Box 1; 14 folders)

Series 2: Correspondence, circa 1846-1981 (Boxes 1-3, OV 9; 2.3 linear ft.)

Series 3: Artwork, circa 1922-1972 (Box 3; 8 folders)

Series 4: Writings and Notes, circa 1938-1978 (Box 3; 11 folders)

Series 5: Financial Records, 1920s-1980 (Box 3; 0.4 linear ft.)

Series 6: Scrapbooks, 1921-1940(Box 4; 2 folders)

Series 7: Printed Material, circa 1922-1981(Boxes 4-6 and OV 10; 2.3 linear ft.)

Series 8: Miscellaneous Records, circa 1940-1974 (Box 6 and OV 9; 0.2 linear ft.)

Series 9: Photographs, circa 1902-1974 (Boxes 6-8 and OV 11; 1.1 linear ft.)
Biographical Note:
Julian Edwin Levi was born in New York in 1900, and his family relocated to Philadelphia six years later. At age 17, Levi enrolled in the Pennsylvania Academy of the Fine Arts where he studied under Henry McCarter and Arthur B. Carles. Upon completing his studies at the Academy in 1919, Levi was awarded one of the Pennsylvania Academy's Cresson Traveling Scholarship which enabled him to travel to Italy during the summer of 1920.

Levi then headed to Paris where he spent the next four years. During this time he became fluent in French, looked at a wide variety of art that influenced him to experiment with abstraction, and had paintings accepted for exhibition the Salon d'Automne of 1921 and 1922. He met many artists in Paris, and developed a close friendship with Jules Pascin. He retuned for a second stay in Paris during 1926 and 1927.

Upon his return to Philadelphia in 1924, Levi and several other modern artists in the city (including his former instructors Carles and McCarter) began exhibiting together under the name "31." The group's work was not well-received. For the remainder of his time in Philadelphia, he continued to paint and on several occasions was able to see Albert Barnes' collection that normally was not open to the public. Levi moved to New York City in 1932 and was attracted to the support and cooperation offered by various artists' organizations. He became a member of An American Group, Inc., in 1933, and was in active in the American Artists' Congress beginning around 1937. Later, Levi was elected to the National Institute of Arts and Letters, an Associate Artist of the National Academy of Design, and a member of the Century Association.

The sea, beaches, dunes, and shores served as inspiration for many of Levi's paintings. He studied his subjects closely, amassing a wide knowledge of boats, fishing, and related equipment; he even learned professional fishing and sailing techniques in order to better understand his subjects. Levi also focused on painting people, and his wife often served as his model. Paintings by Levi are in many museums, among them: Albright-Knox Art Gallery, Art Institute of Chicago, Butler Institute of American Art, Cranbrook Academy of Art, Des Moines Art Center, Detroit Institute of Arts, Guild Hall, Museum of Modern Art, Metropolitan Museum of Art, Newark Museum, Norton Simon Museum, Santa Barbara Museum, Springfield Museum of Art, Toledo Museum, University of Illinois, and the Whitney Museum of American Art.

Many of the paintings Levi produced while employed by the Federal Art Project, 1936-1938, served as the nucleus of his first one-man show held in 1940 at Downtown Gallery. He remained with Downtown Gallery for more than a decade. Later, he was associated with the Alan Gallery, Frank K. M. Rehn Galleries, and Nordness Gallery, each of which staged frequent solo exhibitions of Levi's work. He participated in most of the major national exhibitions and in the Venice Biennale, winning prizes awarded by the Art Institute of Chicago, Carnegie Institute, National Academy of Design, University of Illinois, Guild Hall, and the Pennsylvania Academy of the Fine Arts. A large retrospective exhibition of his work was organized by Boston University in 1962, and a small retrospective was held in 1971 at Wake Forest University, Winston-Salem, North Carolina.

A highly respected and much loved teacher, Levi emphasized the importance of drawing and provided individualized instruction. He considered himself a "coach" and viewed his students as less experienced artists (all were encouraged to call him Julian instead of Mr. Levi). His teaching career, which lasted for more than three decades, began in 1946 with his appointments as a painting instructor at the Art Students League and the New School for Social Research in New York City (later the New School appointed him director of its Art Workshop). In 1964 he began making weekly trips to the Pennsylvania Academy of the Fine Arts in Philadelphia, where he taught painting; at the start of the 1977 academic year, he reduced his schedule to once a month and acted as a general critic. During the 1967-68 academic year, Levi was on sabbatical leave while artist-in-residence at the American Academy in Rome. In addition, he taught summer courses at Columbia University in the early 1950s and occasionally served as a guest instructor at other summer programs over the years.

Julian Levi died in New York City, February 28, 1982, after a brief illness.
Provenance:
The papers were a gift received in several accessions between 1969-1982 from Julian E. Levi and his estate (Herman Englander, executor). Portions of the collection were microfilmed upon receipt.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. office.
Rights:
The Julian E. Levi papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Art -- Economic aspects  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios  Search this
Works of art  Search this
Genre/Form:
Scrapbooks
Interviews
Sketches
Drawings
Photographs
Illustrated letters -- Local
Citation:
Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.levijuli
See more items in:
Julian E. Levi papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-levijuli
Online Media:

James McNeill Whistler collection

Creator:
James McNeill Whistler, 1834-1903  Search this
Names:
Company of the Butterfly  Search this
Royal Academy of Arts (Great Britain)  Search this
Salon (Exhibition : Paris, France)  Search this
Salon des refusés  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Anderson, Christine  Search this
Beck, J. W.  Search this
Boehm, Joseph Edgar, Sir, 1834-1890  Search this
Bronson, Katharine de Kay, 1834-1901  Search this
Burnett, Frances Hodgson, 1849-1924  Search this
Burnett, Swan M. (Swan Moses), 1847-1906  Search this
Ford, Sheridan, d. 1922  Search this
Lee, George Washington Custis, 1832-1913  Search this
Lee, Robert E. (Robert Edward), 1807-1870  Search this
Leighton of Stretton, Frederic Leighton, Baron, 1830-1896  Search this
Lucas, George A., 1824-1909  Search this
Pollitt, Herbert Charles Jerome, 1871-1942  Search this
Wilde, Oscar, 1854-1900  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Postcards
Pamphlets
Date:
1863-1906, circa 1940
Summary:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.
Scope and Content Note:
The collection measures 0.2 linear feet and provides scattered documentation of the career of American-born British-based painter and etcher James McNeill Whistler (1834-1903) through 39 items from Whistler to various recipients, including 25 letters, 9 telegraphs, 3 invitations, one thank you card and a postcard. The collection also contains 4 letters from others, 7 catalogs of Whistler exhibitions, a note from the back of Whistler's painting The Beach at Selsey Bill, and a 1906 copy of Wilde v. Whistler: being an acromonious correspondence on art between Oscar Wilde and James A. McNeill Whistler, a pamphlet containing letters originally published in London newspapers between 1885 and 1890.

The Whistler letters found here touch on some important events in Whistler's career. One letter to George Lucas, an American art dealer in Paris, discusses his plans to send Symphony in White, No. 1: The White Girl to the Paris Salon of 1863. Rejected by the Royal Academy of Arts in London in 1862, the painting was also refused by the Paris Salon but shown ultimately in the landmark exhibition at the Salon des Refusés.

Also found are a circa 1879 letter to the eldest son of Robert E. Lee, General George Washington Custis Lee, with whom Whistler had been a cadet at West Point, recommending sculptor Joseph Boehm for an equestrian statue for memorializing Lee and expressing Whistler's veneration for the Confederate general; a circa 1880 letter from Whistler, written during his 14 months in Venice, to Katharine de Kay Bronson, who presided over the expatriate community there; 2 circa 1892-1893 letters documenting Whistler's determination to pursue Sheridan Ford through the courts in response to Ford's publication of a contraband version of Whistler's book The Gentle Art of Making Enemies; and a circa 1897 letter to J. W. Beck, sent in response to Beck's request on behalf of the Royal Academy that he exhibit with the British contingent at the 1893 World's Columbian Exposition in Chicago. In the letter Whistler insults Sir Frederic Leighton, the Royal Academy's president, retaliating against previous slights including having his paintings hung well above eye-level, or "skied".

Although few, if any, records survive about the creation of The Company of the Butterfly, a syndicate established in 1897 for selling Whistler's work, the collection contains one letter from Christine Anderson, the secretary of the Company, to one of it's first clients, Herbert Charles Pollitt.

The collection also contains an 1883 invitation from Whistler to Dr. Swan Burnett and his wife, children's author Frances Hodgson Burnett, to view etchings and drypoints and a note written by Whistler and signed with the butterfly, taken from the back of the painting Beach at Selsey Bill (1865).

Seven catalogs dating from 1892-1910 and circa 1940 document Whistler exhibitions in London and the United States.

Seven of the Whistler items are signed with his butterfly signature and all letters sent after his wife's death in May 1896 are on mourning stationary.
Arrangement:
The collection is arranged as 1 series:

Series 1: James McNeill Whistler Collection, 1863-1906, circa 1940 (Box 1; 0.2 linear ft.)
Biographical Note:
London-based painter and etcher, James McNeill Whistler (1834-1903) was born in Lowell, Massachusetts and lived in St. Petersburg and London as a child before returning to the United States on the death of his father in 1849. After a failed attempt at a military career at West Point from 1851-1853, he worked as a draftsman for the Coast Survey from 1854-1855 where he received technical instruction in etching. Whistler then left for Paris and remained an expatriot for the rest of his life, living alternately in Paris and London. He studied briefly in Paris at the Ecole Impériale, but was influenced more heavily by his own studies of the great masters and his contemporaries, including Henri Fantin-Latour, Charles Baudelaire, Gustave Courbet, and Edouard Manet.

Whistler's reputation as an etcher was firmly established with the 1858 publication of his group of "French Set" etchings. Shortly thereafter he settled in London and began work on his first major painting At the Piano (1859). His paintings, such as Symphony in White No. 1 The White Girl, (1862; National Gallery of Art, Washington, D.C.) and later portraits such as Arrangement in Black and Grey No. 1: The Artist's Mother (1871; Musée d'Orsay, Paris), won him international acclaim. His style was not easily defined although he was influenced by Realism and Impressionism and by Japanese art styles, which can be seen in his "Nocturne" landscapes, exhibited in 1877 at the Grovesnor Gallery in London, and influenced the development of his "butterfly signature" in the 1860s.

When art critic John Ruskin wrote a scathing review of the "Nocturnes" exhibition, Whistler sued for libel and won, although the resulting legal fees drove him into bankruptcy. He spent 14 months in Venice on a commission for the Fine Art Society and produced a succession of etchings and pastels that were subsequently exhibited in 1883 and helped to stabilize his financial situation.

In 1885 Whistler, famous for his witty and flamboyant personality, published his Ten O'Clock Lecture which espoused his belief in "art for arts sake," and asserted his refusal to ascribe narratives or morality to his art. Whistler's "Ten O'Clock" drew a response from Oscar Wilde and a public discourse between the two men followed in the London newspapers. It was later published in the pamphlet Wilde v. Whistler: being an acrimonious correspondence on art between Oscar Wilde and James A. McNeill Whistler.

In 1890 Whistler published The Gentle Art of Making Enemies, a collection of his best letters and witticisms. The book had originally been the idea of American journalist Sheridan Ford, to whom Whistler had advanced money which he then withdrew with the intent of completing the project alone. When Ford retaliated with a contraband edition of the book, Whistler pursued him through the courts and Ford was tried in Belgium in 1891.

Toward the end of his life Whistler focused increasingly on etching, drypoint and lithography, in addition to interior decoration such as the Peacock Room for Frederick Leyland's London residence begun in 1876. A happy marriage to Beatrix Godwin in 1888 ended in her death in May 1896. By the time of his death in London in 1903, Whistler was regarded as major artist of international renown.
Related Material:
The Archives holds several collections relating to James McNeill Whistler including the Katherine Prince collection relating to James McNeill Whistler, 1835- 1892; Edward Guthrie Kennedy papers concerning James McNeill Whistler in the New York Public Library, 1850-1902 and Selected papers concerning James McNeill Whistler in the New York Public Library, 1830-1950 (available on microfilm only, reel N25; originals reside at the New York Public Library); and James McNeill Whistler collection in the University of Glasgow, Special Collections, circa 1830-1963 (available on microfilm only, reels 4600-4611 and 4683-4699; originals reside in the Glasgow University Library, Dept. of Special Collections).
Provenance:
The collection was compiled from a series of accessions donated between 1959 and 2003. Most of the items in the collection were given to the Archives of American Art by Charles Feinberg in 1959. The pamphlet Wilde v. Whistler was donated by Mrs. Lois Field in 1964 and an invitation to Dr. and Mrs. Burnett was donated by Martha Fleischman in 2003.
Restrictions:
Use of original papers requires an appointment.
Rights:
The James McNeill Whistler collection is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Painters  Search this
Topic:
Painting, American  Search this
Art dealers -- France -- Paris  Search this
Etchers  Search this
Genre/Form:
Postcards
Pamphlets
Citation:
James McNeill Whistler collection, 1863-1906, circa 1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whisjame2
See more items in:
James McNeill Whistler collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-whisjame2
Online Media:

Henry Hudson and Theo Alice Ruggles Kitson papers, [187-]-1979

Creator:
Kitson, Henry Hudson, 1863?-1947  Search this
Kitson, Theo Alice Ruggles, 1871-1932  Search this
Subject:
Kitson, Samuel James  Search this
Cavanagh, Dorothy  Search this
Type:
Scrapbooks
Topic:
Sculpture, American  Search this
Sculpture, Modern -- 19th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Bronze sculpture, American  Search this
Bronze founding  Search this
Record number:
(DSI-AAA_CollID)7186
(DSI-AAA_SIRISBib)209323
AAA_collcode_kitshenr
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209323

Henry Hudson and Theo Alice Ruggles Kitson papers

Creator:
Kitson, Henry Hudson, 1863?-1947  Search this
Kitson, Theo Alice Ruggles, 1876-1932  Search this
Names:
Cavanagh, Dorothy, 1907-1986  Search this
Kitson, Samuel James, 1848-1906  Search this
Extent:
5.7 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
[187-]-1979
Scope and Contents:
Biographical material, correspondence, writings, art works, legal and financial records, scrapbook, photographic and printing material, and printed matter.
Biographical materials include a copy of Henry Hudson Kitson's birth certificate; his confirmation certificate; a copy of the death certificate of his father, John Kitson; a photograph of the honorable mention certificate received by Theo Ruggles (Kitson) for "Young Orpheus" from the Societe des Artistes Francais, 1890; a letter of reference for her from sculptor George F. Bissell, 1901; her will; calling cards from those who attended her funeral, 1932; biographical data on Henry Kitson; genealogical data on the Kitson family; an incomplete list of works by the Kitsons compiled by Dorothy Patricia Cavanagh; and a diary by Henry Kitson, 1902-1904, containing brief entries pertaining to his daily life and work.
Personal and professional correspondence includes letters from Theo to Henry from Paris, 1890, including an illustrated letter to "my own darling child" (? Henry Kitson) describing her award ceremonies at the Salon, an illustrated letter to her father, written from Rome, describing the city, a letter from Henry Kitson to Miss Tower, ca. 1899, about putting the Minutemen Memorial in Tower Park, Lexington, Mass., letters from him to his wife, 1903, and to "Babsy" (his daughter, Theo), undated, with sketches for constructing a fence and a stone wall, a letter from Alexander J. Schottes, 1905?, containing descriptions and sketches of the studios of Daniel Chester French, Charles Grafly, Augustus Saint-Gaudens and Louis Saint-Gaudens, copies of letters from Kitson to the secretary of Queen Wilhelmina of Holland requesting photos preparatory to making a bust of the Queen, letters from the War Dept. to the Kitsons about their work at Vicksburg, Miss., and letters to Theo from the Gorham Manufacturing Company. Posthumous correspondence includes letters to the Kitsons' son John, his wife Helen, and her sister, Dorothy P. Cavanagh, from sculptor Lee Lawrie, sculptor Milton Horn and his wife, Estelle.
Writings include a poem by Henry Kitson; a description of a "Visit to a Bronze Foundry" (Gruet, Fils, Paris), author unknown, undated; reminiscences by sculptor Lee Lawrie; and a remembrance of Lawrie by Dorothy P. Cavanagh, 1963.
Art works include a childhood sketch by Theo Kitson of her home in Brookline, Massachusetts; sketches of animals; several sketches by her, possibly for monuments; unidentified sketches, chiefly of possible monument designs, probably by one of the Kitsons; a rendering by an architectural firm of a bas-relief designed by Henry Kitson, 1935; 2 caricatures of Kitson by Hiram Jay; an etching by Robert Kitson, 1891; various sketches of Japanese figures and costumes by Hiroshi Yoshida, 1910; and 2 pastels by T. (?) Walser of "Stonegate" (?), home of the Kitsons in Framingham Centre, Mass. Also iIncluded are 4 steel dies for bas-reliefs.
Legal records 1895-1940, include specifications for the Soldiers' Memorial, Vicksburg, Miss., numerous contracts for works by the Kitsons, copyright receipts and certificates, and deeds for sale of real estate. Financial records, 1882-1946, include invoices for casting for Henry Kitson, his bank statements, 1931-32, and his promissory notes.
A large scrapbook, 1888-1954, annotated by Dorothy P. Cavanagh, contains clippings, genealogical information on the Kitson family, photos of works by the Kitsons, personal photographs, correspondence, including letters from Henry Kitson to his future wife, 1892, and postcards to her and their children, a humorous resolution about the "Regiment of Macaroonies," written by Henry Kitson's friends in Paris, 1888, invitations, agreements for sculpture, copies of speeches given at the University of Minnesota for the Student Soldier Memorial Monument dedication.
Photographs are of the Kitsons, their family, homes, studios, Paris, ca. 1900, and their work, including photos of oxen hauling the granite boulder for the base of the "Volunteer" by Theo Kitson from Quincy, Mass. to Vicksburg, Miss., 1904, and scenes of the dedication of the monument. In addition, there are 7 photos of "Work in Progress" by Ellin and Kitson and Company for the Equitable Building, New York, 1887, a photo of the Astor Memorial, Trinity Church, New York, which the firm also worked on, and 6 undated photographs of works by Samuel Kitson.Also included are glass negatives of the Kitson's work.
Printed materials date from 1884-1979.
Biographical / Historical:
Sculptors; Boston, Mass. Henry Hudson Kitson's actual name was Harry Kitson. Theo(dora) Alice Ruggles became his student in 1886 at the age of 15; in 1893 they were married and were notable monumental and portrait sculptors by the turn of the century. They had three children: Theo (also known as Babsy or Babbins), Dorothy and John. Three years after Theo's death, in 1935, Henry married Marie Hobron.
Related Materials:
Additional Kitson letters also located at: New York Historical Society.
Provenance:
The donor, Dorothy P. Cavanagh, was the sister of the Kitsons' daughter-in-law Helen (wife of John), and was writing a biography on the Kitsons up until her death in 1986. The microfilmed material was originally loaned by Cavanagh June 28, 1982 and September 12, 1986, and then donated upon her death by her nephew and executor, Paul Bennet. The unmicrofilmed material was donated by Cavanagh in 1973 and 1976.
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.
Occupation:
Sculptors -- Massachusetts  Search this
Topic:
Sculpture, American  Search this
Sculpture, Modern -- 19th century -- United States  Search this
Sculpture, Modern -- 20th century -- United States  Search this
Bronze sculpture, American  Search this
Bronze founding  Search this
Function:
Memorials
Genre/Form:
Scrapbooks
Identifier:
AAA.kitshenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kitshenr

Ira and William Glackens papers

Creator:
Glackens, Ira, 1907-1990  Search this
Names:
Delaware Art Museum  Search this
Kraushaar Galleries  Search this
National Gallery of Art (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Williams College. Museum of Art.  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Barnes, Laura L., 1875-1966  Search this
Buckley, Charles E.  Search this
Bullard, E. John(Edgar John), 1942-  Search this
Dimock, Ira  Search this
Fitzgerald, Irene Dimock  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Kuhn, Walt, 1877-1949  Search this
Liff, Vivian  Search this
Luks, George Benjamin, 1867-1933  Search this
Morse, Stearns  Search this
Perlman, Bennard B.  Search this
Prendergast, Eugénie  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Schwab, Arnold T.  Search this
Shinn, Everett, 1876-1953  Search this
Sloan, Helen Farr, 1911-2005  Search this
Extent:
2.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Writings
Date:
circa 1900-1990
Summary:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Scope and Content Note:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)
Biographical Note:
Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.
Related Materials:
The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.
Separated Material:
Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.
Provenance:
The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Ira and William Glackens papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Illustrators -- Pennsylvania -- Philadelphia  Search this
Authors -- Pennsylvania -- Philadelphia  Search this
Painting, American  Search this
Eight (Group of American artists) -- Photographs  Search this
Art -- Collectors and collecting  Search this
Painting, Modern -- 20th century -- United States  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Photographs
Sound recordings
Writings
Citation:
Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.glacwill
See more items in:
Ira and William Glackens papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-glacwill
Online Media:

Van Dearing Perrine papers, 1892-1986

Creator:
Perrine, Van Dearing, 1868 or 9-1955  Search this
Subject:
Chapman, A. D.  Search this
Coburn, Alvin Langdon  Search this
Perrine, Theodora Snow  Search this
Perrine, Mary  Search this
League for the Preservation of the Palisades  Search this
Type:
Scrapbooks
Topic:
Painting, American  Search this
Art -- Study and teaching -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)8022
(DSI-AAA_SIRISBib)210192
AAA_collcode_perrvan
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210192

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