Correspondence, drawings, clippings, photographs and other materials collected by Ridgway Hall in the course of research on painter Josephine Miles Lewis. Included are biographical accounts of Lewis and two diplomas; fourteen business letters to Lewis; correspondence (1959-1981) with Hall primarily concerns Lewis (a 1959 letter contains a copy of Lewis' will); thirty-three sketches (1887-1891) and 3 pencil drawings of trees and a landscape; inventories of works; questionnaires from Hill's survey of Lewis' works of art; clippings (ca. 1910-1959); a 1900 exhibition catalog from the New Haven Paint and Clay Club, 1935 and 1955 exhibition announcements; photographs of Lewis, her family, studio, exhibitions and works of art.
Biographical / Historical:
Ridgway M. Hall (1914-1982) was a distant relative of Josephine Miles Lewis.
Other Title:
Josephine Miles Lewis papers, 1887-1891 (former title).
Provenance:
Donated 1980 and 1984 by Ridgway and Lucy W. Hall.
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.
1.1 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1882-1985
bulk 1882-1931
Scope and Contents:
Biographical material, letters, notes and writings, a monograph design, printed material, a scrapbook, and photographs.
REEL 2813: Eighteen letters to Haberle regarding the exhibition and sale of his work, 1891-1901; and a letter from J. William Middendorf to Haberle's son-in-law, Victor Demmer, concerning a Haberle exhibition at the Whitney Museum of Art, 1966.
UNMICROFILMED: Biographical material; an autobiographical account, 1925; letters to Haberle from colleagues discussing his work, 1870-1915; letters from Haberle to his wife Sarah "Sadie" Haberle, 1893-1898, and his daughter Vera, 1898; and letters to Vera and Victor Demmer and Gladys Haberle Fresnada concerning Haberle's work, 1960-1971, from Alfred Frankenstein and others; notes and writings including poems, 1925, musical annotations, a card file on writing, 8 pages from a travel journal, 1931, and "directions for finishing the painting donated to New Britain."
Also included are a monogram design, 1903; photographs of Haberle, members of his family, 1894, works of art, 1888, views of 2 houses, 1960, and artists in their studios including Georges Clairin, Benjamin Constant, Jean Léon Gérome, Mihaly Munkacsy, and Georges Rochegrosse; clippings, 1887-1970; a scrapbook containing greeting cards and stickers; and printed material, 1874-1932.
Biographical / Historical:
Still-life painter, art instructor; New Haven, Conn. Haberle was apprenticed to a lithography and engraving company during the 1870s, studied at the National Academy of Design between 1884 and 1885 and later founded the New Haven Sketch Club, where he also taught. He specialized in trompe l'oeil still-life paintings, producing most of this work between 1887 and 1900. Deteriorating eyesight caused him to paint broader, more traditional still-lifes and landscapes in later life.
Provenance:
Material on reel 2813 was donated 1969 by Mrs. Vera Haberle Demmer, the daughter of John Haberle. Material on reel 3753 lent, and unmicrofilmed material donated 1986 by James and Claudia Mize, descendants of Haberle.
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.
Research material for Alan Gussow's book, A Sense of Place: the Artist and the American Land, and the related Nebraska Public Television production, symposium, and exhibition at Sheldon Memorial Art Gallery, measures 2.8 linear feet and dates from 1956 to 1994. Research files include correspondence, photographs and color transparencies, sound recordings of 17 interviews with artists, a draft manuscript, publicity, reviews, and fan mail. Exhibition and symposium related material includes the proposal, correspondence, and printed matter. Public television production material includes correspondence, publicity, transcripts, soundtrack tapes, and film footage.
Scope and Contents:
Research material for Alan Gussow's book, A Sense of Place: the Artist and the American Land, and the related Nebraska Public Television production, symposium, and exhibition at Sheldon Memorial Art Gallery, measures 2.8 linear feet and dates from 1956 to 1994. Research files include correspondence, photographs and color transparencies, sound recordings of 17 interviews with artists, a draft manuscript, publicity, reviews, and fan mail. Exhibition and symposium related material includes the proposal, correspondence, and printed matter. Public television production material includes correspondence, publicity, transcripts, soundtrack tapes, and film footage.
Arrangement:
The collection is arranged as 2 series.
1. A Sense of Place Research Material, 1956-1994 (2.1 linear feet; Boxes 1-3)
2: Exhibition and Symposium Files, 1970-1975 (0.7 linear feet; Boxes 3-4, FC 5-6)
Biographical / Historical:
Alan Gussow (1931-1997) was a painter and writer in New York. He studied painting at Cooper Union and at the American Academy in Rome. Gussow honed a visionary blend of abstraction and representation with nature as his primary subject in his art. His book A Sense of Place: The Artist and the American Land, published in 1972, couples works by American landscape artists spanning four centuries with excerpts of their own writing.
Provenance:
The collection was donated to the Archives of American Art by Alan Gussow in 1995.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Alan Gussow research material for A Sense of Place, 1956-1994. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Included in the Henry Hammond Ahl volume, 1890-1953, are: a membership certificate to the Phi Gamma Mu Honor Society and a business card; correspondence concerning painting assignments; 10 exhibition announcements; 17 drawings and 4 paintings; printed materials; and 42 photographs and prints of Ahl, his studios, his art works, and his house.
The scrapbook, 1901-1953, on Eleanor Curtis Ahl, wife of Henry Hammond Ahl, contains: one undated letter; writings; 6 drawings and 14 paintings; printed materials regarding exhibitions of her work; and two obituaries.
Two scrapbooks on Henry Curtis Ahl, 1916-1980, include: membership cards to New England art societies; letters (mostly photocopies) regarding exhibitions, gifts, and art directory entries; 2 drawings and 6 paintings; exhibition announcements; printed materials; and 3 photographs of the Ahl family house in Dedham, Massachusetts.
Biographical / Historical:
Family of painters; Massaachusetts, including Henry Hammond Ahl (1869-1953), Eleanor Curtis Ahl (1875-1953), and their son, Henry Curtis Ahl (b. 1905). The most accomplished painter in the Ahl family was Henry Hammond Ahl, who once had a studio at the Corcoran Gallery building in Washington, D.C. He was best known for his portraits of politicians and his Massachusetts landscapes. His painting, "In the Shadow of the Cross," drew crowds to its mysteriously appearing cross when it went on tour in 1899 and at the St. Louis Fair of 1904.
Provenance:
Lent for microfilming 1985 by A. Everette James, Jr., a physician and art collector of Nashville, Tenn.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
This collection is comprised of 179 slides taken by Marilyn Heldman in Ethiopia, Nigeria, Eritrea, and Cameroon. Subjects include architecture, art objects, marketplaces, pottery, reliefs and cultures including the Anuak, Dorze, Falasha, Fulani, Gurage, Tigre, Falasha .
Scope and Contents:
Series is comprised of images taken in Bafang, Foumban, and Kribi, Cameroon of the waterfall of Mouenkeu, Boroboro peoples, trees, and other natural landscapes. Series two includes photographs taken in Aromo and Senafe, Eritrea of a priest, school children, basket weavers, and a marketplace. Series three includes photographs taken in Kano, Katsina, and Zaria, Nigeria of a view of the city of Kano, people by the City Gate of Kano, a wall and gate in Katsina, and a house in Zaria. Series four is comprised of photographs taken in Ethiopia, particularly in Addis Ababa, Gondor, and Lalibela. Subjects include churches, the Jubilee Palace (Addis Ababa), Guarge peoples, scenes in the Institute of Ethiopian Studies (IES) Museum, markets, murals, city views, castles, religious icons, Lake Tana, Dorze textiles, and one image of Haile Selasse visiting Nazareth.
Arrangement:
This collection has been arranged in four series according to geographic location:
Series 1: Cameroon, 1965-1996 (7 slides)
Series 2: Eritrea, 1965-1996 (6 slides)
Series 3: Ethiopia, 1965-1996 (162 slides)
Series 4: Nigeria, 1965-1996 (4 slides)
Biographical / Historical:
Marilyn Heldman was an Adjunct Professor of Art History at American University (Washington, D.C.). Published in such journals as the Journal of Religion in Africa, African Arts and Northeast African Studies, Heldman has also written numerous books, notably African Zion: The Sacred Art of Ethiopia (1993) (cowritten with Stuart C. Munro-Hay). Heldman received a post-doctorate fellowship from the National Endowment for the Arts to complete field work in Northern Ethiopia (1973-1974). She has also held positions as Visiting Associate Professor in the Department of Art and Art History at the University of Missouri at St. Louis and Curatorial Associate at the Museum of the Institute of Ethiopian Studies at the Addis Ababa University, Ethiopia (1966-1967).
Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Citation:
Marilyn Heldman photographs, EEPA 2013-013, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Original description on slide mount: Wollo - Lasta - between Lalibela and Geneta Maryam
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original description on slide mount: View - along foothpath between Lalibala + Gannata Maryam to the East
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original description on slide mount: Bahr Dar - Blue Nile/Rise of Blue Nile/Lake Tana
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Original description on slide mount: Coming from Waldea road
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
This series includes images taken in Bafang, Foumban, and Kribi, Cameroon. They depict the waterfall of Mouenkeu, Boroboro peoples, trees, and other natural landscapes.
Collection Restrictions:
Use of original records requires an appointment. Contact Archives staff for more details.
Collection Rights:
Permission to reproduce images from the Eliot Elisofon Photographic Archives must be obtained in advance. The collection is subject to all copyright laws.
Collection Citation:
Marilyn Heldman photographs, EEPA 2013-013, Eliot Elisofon Photographic Archives, National Museum of African Art, Smithsonian Institution.
Papers relating to the personal life and career of Robert Strong Woodward, and to the vogue for New England painting in the first half of the twentieth century, and includes letters, a ledger, writings, works of art, photographs, and printed material.
Included are numerous letters, 1902-1953, to longtime friends Helen and Anna D. Schermerhorn, including letters to Helen describing assemblage artist Joseph Cornell's early family life, Woodward's admiration of Cornell and a fragment of a letter to Cornell. The ledger lists Woodward's work handled by dealers and works in transit, 1937-1947.
Writings, 1970 and 1985, by others about Woodward include a draft of a biography for a Deerfield Academy exhibition catalog, a biographical account for the Heath Historical Society, and manuscripts from a tribute on the centennial of Woodward's birth. Writings by Woodward include a poem titled, "Night Verses to the Little Shops." Included in the works of art by Woodward, 1898-1904 and undated, are childhood sketches of greeting cards for his mother, and a sketchbook. Photographs, 1898-1904, are of family, homes and buildings, works of art and exhibitions. Printed material includes exhibition announcements and catalogs, 1919-1985, and newspaper and magazine clippings, 1928-1985.
Biographical / Historical:
Robert Strong Woodward (1885-1957) was a landscape and still-life painter from Boston, Mass. Prolific painter of still lifes, as well as landscapes and rural scenes of western Mass. and southern Vermont. At 21, a revolver accident left him paralyzed, and he was confined to a wheelchair. Painting, which had been his hobby, became his career. His only formal art training was at the School of the Museum of Fine Arts, Boston, where he studied for less than a year. In 1919, he won the first Hallgarten prize for landscape at the National Academy of Design. He had regular exhibitions at Vose Galleries of Boston and at regional museums.
Related Materials:
Also available at the Archives of American Art are the F. Earl Williams papers relating to Robert Strong Woodward, 1928-1985.
Provenance:
Donated 1986 by Florence Haeberle, Robert Woodward's cousin. She received Woodward's letters to Helen Schermerhorn, after Schermerhorn's death, from Helen's sister-in-law, Mrs. Henry Schermerhorn of Providence, Rhode Island.
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.
Huntington, Elizabeth Hamilton Thayer, 1878-1963 Search this
Extent:
1 Item (partial microfilm reel)
Type:
Collection descriptions
Archival materials
Date:
[ca. 1903-1961]
Scope and Contents:
Letters; notes; a typescript of an unpublished autobiography (1942); sketches; a scrapbook containing letters, catalogs, and clippings; and photographs of Huntington, her house and her work.
Biographical / Historical:
Painter; Wellesley Hills, Mass.
Provenance:
Lent for microfilming 1991 by Samuel Robbins, a collector who purchased the materials.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Mansfield, John Worthington, 1849-1933 Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1864-1931
Scope and Contents:
Correspondence, European journals, writings and notebooks, checkbooks and account books, sketchbooks and loose sketches, prints and oil paintings, exhibition catalogs, clippings and news articles, art books including 8 instruction books from Winsor and Newton, photographs of scenes and personal photographs.
Biographical / Historical:
Painter, New England. Born in Norwich, Conn. Painted landscapes, animals and portraits.
Provenance:
Donated by Mansfield's grandson, Lewis Joslyn.
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.
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.
Scope and Contents:
The papers of painter, author, and arts administrator Lee Hall measure 7.4 linear feet and date from circa 1870-2017, bulk 1975 to 2010. The papers document Hall's career through biographical material, correspondence, writings, studio records, printed material, photographic material, and artwork. Included is significant documentation on Hall's book projects, including biographies of Betty Parsons, Abe Ajay, and Willem and Elaine de Kooning.
Biographical material includes business cards, résumé and biographical texts, travel documents, and awards. Correspondence is professional and personal in nature and includes some collected historic correspondence from unknown authors. Correspondence regarding specific writing projects is found in the Writings series. The Writings series includes journals and notebooks focusing primarily on Hall's travels and study of Classics including the Greek language. The Writing Projects subseries includes titles intended for publication as well as college papers, essays, and lectures. Published titles are often accompanied by book proposals, contracts, research material, interviews, and correspondence. Also included are writings by others including reviews regarding Hall's art career. Studio records include artwork inventories, loan paperwork, and the mechanical for an exhibition catalog. Printed material includes exhibition invitations for Lee Hall's art career, exhibition catalogs for Hall's exhibitions and that of Betty Parsons, and general printed material regarding Elaine de Kooning, as well as press clippings on various topics. Photographic materials include images of Lee Hall and her circle of friends including Betty Parsons, images of Hall in her studio, installation images of Hall's exhibitions at the Betty Parsons Gallery, and extensive photographs of Hall's travels to the Mediterranean, primarily to Greece and Turkey. The Artwork series includes sketches, watercolors and other small paintings by Lee, as well as illustrated manuscripts for children's book titles.
Arrangement:
The collection is arranged in seven series:
Series 1: Biographical Material, circa 1970-2010 (0.2 Linear Feet; Boxes 1, 7)
Series 2: Correspondence, circa 1870-2016 (0.3 Linear Feet; Box 1)
Series 3: Writings, circa 1920-2010 (4.0 Linear Feet; Boxes 1-5)
Series 4: Studio Records, circa 1973-2010 (0.2 Linear Feet; Box 5)
Series 5: Printed Material, circa 1914-2016 (0.4 Linear Feet; Boxes 5, 7)
Series 6: Photographic Material, circa 1940-2017 (1.7 Linear Feet; Boxes 5-9)
Series 7: Artwork, circa 1950-2010 (0.6 Linear Feet; Boxes 6-7, Oversize 10)
Biographical / Historical:
Lee Hall (1935-2017) was a painter, author, and arts administrator who served as president of the Rhode Island School of Design from 1975-1983. Born in Lexington, North Carolina and raised in Florida following her parents' divorce, Lee Hall later returned to her birth state to attend the Woman's College of the University of North Carolina. She received her bachelor of fine arts in 1955, studying under the abstract painter John Opper. She eventually earned a masters degree in art education and a PhD in creative arts, both from New York University. Hall's paintings shared an Abstract Expressionist sensibility common with many of her peers at the Betty Parsons Gallery, imparted on the figurative tradition of landscape painting. Hall showed her paintings at the Betty Parsons Gallery from the late seventies until 1982 when the gallery closed following Parsons' death, after which she ceased exhibiting her work almost entirely until the last decade of her life. Hall maintained a studio at her home in South Hadley, Massachusetts throughout her life. A few years before Parson's death Hall had agreed to write Parsons' biography, finally released in 1991, on the condition that she and papers were made available for intensive research. Hall published titles on a wide variety of subjects including a comprehensive survey of American clothing (1992), and perhaps most notably the controversial biography of painters Elaine and Willem de Kooning (1993).
Separated Materials:
Three linear feet of Betty Parsons papers donated as part of the Lee Hall papers were transferred to the collection of Betty Parsons Gallery records and personal papers, also located at the Archives of American Art.
Provenance:
Donated in 2018 by the Lee Hall Estate via Carolyn Crozier and Deborah Jacobson, co-executors.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Edwin Reeves Euler reflect Euler's personal and professional life, and consist primarily of correspondence, a few art works, the artist's scrapbooks, and photographs.
genealogical material containing names, birth dates and the places of birth of Euler's maternal and paternal relatives and siblings; personal documents, including business cards; correspondence, ca. 1913-1978; original works including a woodblock print greeting card designed by Euler, and 3 unidentified cartoons;
2 scrapbooks, one containing clippings and photographs from "Reeves Euler Retrospective Exhibition, May 30 - June 15, 1980," and the other containing 13 pages of clippings, announcements, photographs and sketches, 1963-1979; clippings; announcements, and catalogues; newsletters; 3 drawings by Euler; and photograph albums containing photographs of works of art by Euler and personal photographs, 1929-1977 and undated.
Biographical / Historical:
Born December 28, 1896 in Nevada. Still-life painter, landscape painter and sculptor. Euler came to Provincetown in 1919 to study with Charles W. Hawthorne, following earlier study at the Corcoran Art School, Washington, D.C. Usage: "Eddie" Euler and Reeves Euler.
Provenance:
The donor, Lynn Olsen, is the executrix of the Euler estate and niece of the decesed.
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.
The papers of Edward Gay and the Gay family measure 2.6 linear feet and date from 1852 to 1983. Found within the papers are biographical materials on Edward and Duncan Gay; personal correspondence from Edward Gay, his wife Martha Feary Gay, and other family members; artwork by Edward and Duncan Gay; writings; printed materials; and photographs of Edward and Duncan Gay, their family, and their work.
Scope and Contents:
The papers of Edward Gay and the Gay family measure 2.6 linear feet and date from 1852 to 1983. Found within the papers are biographical materials on Edward and Duncan Gay; personal correspondence from Edward Gay, his wife Martha Feary Gay, and other family members; artwork by Edward and Duncan Gay; writings; printed materials; and photographic materials of Edward and Duncan Gay, their family, and their work.
Papers of Edward Gay include legal documents; family and business correspondence, including correspondence from fellow artists; writings, including reminiscences by Martha Gay; printed materials; artwork, including one sketchbook; a small selection of business papers related to the Artists' Fund Society; and photographs of Edward and Martha Gay, their homes, and Gay's artwork.
Papers of Duncan Gay include biographical materials; family correspondence; printed material; artwork, including three sketchbooks and sketches of house plans; and photographic materials of Duncan Gay, his travels, and his artwork.
Gay family papers consist primarily of correspondence to Ingovar Gay and Helen Gay Learned, and photographs of the Gay family, extended family members, and friends.
Arrangement:
The collection is arranged as 3 series.
Series 1: Edward Gay Papers, 1852-1983 (0.8 linear feet; Box 1, OV 4-5)
Series 2: Duncan Gay Papers, 1870-1983 (0.5 linear feet; Boxes 1-2)
Series 3: Gay Family Papers, 1888-1970 (1.3 linear feet; Boxes 2-3)
Biographical / Historical:
Landscape painter Edward Gay (1837-1928) lived and worked in Mount Vernon and Cragsmoor, New York and was known for his works depicting the local countryside of upstate New York and the Hudson River Valley.
Born in Mullingar, Ireland to Richard and Ellen Gay, his family immigrated to Albany, New York in 1848. After showing an early affinity for art, Gay began his studies in the studio of local landscape painters William and James Hart. Under the Harts' advisement, Gay traveled to Karlsruhe, Germany in 1862 to continue his studies with Johann Wilhelm Schirmer and Karl Friedrich Lessing. After returning to America in 1864, Gay married the art critic Martha Feary and lived for a short time in New York City before moving his family to Mount Vernon and eventually purchasing a home there in 1870. He exhibited in museums and galleries throughout America and painted murals for public libraries in Mount Vernon and Bronxville, New York. Gay was a member of the National Academy of Design, New York Artists' Fund Society, and Lotus Club, and was a recipient of the National Academy's George Inness Gold Medal and the Society of American Artists' Shaw Prize.
Duncan Gay (1865-1948), Edward Gay's eldest son, was also an artist. Duncan worked as a draftsman and designer for Louis Comfort Tiffany, where he remained employed prior to becoming a self-employed artist and stained glass designer.
Provenance:
The papers were donated in separate accessions beginning in 1959 by Edward Gay's daughter, Dorothy Gay Gordon. Additional materials on Edward Gay were donated by Gay's grandson, Richard G. Coker, in 1974. From 1983 to 1995, materials on Edward and Duncan Gay and the Gay family were donated by Susanne G. Linville, Duncan Gay's daughter.
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 Edward Gay and Gay family papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Landscape painting -- 20th century -- New York (State) Search this
Landscape painting -- 19th century -- New York (State) Search this
Landscape painters -- New York (State) Search this
Genre/Form:
Photographs
Sketches
Sketchbooks
Citation:
Edward Gay and Gay family papers, 1852-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for digitization of the Edward Gay and Gay Family Papers was made possible by a gift from Edward Gay's descendants Gay Fort Boswell, Wickie Fort Bridgforth, Melanie Fort Christian, Caleb Fort, Edward Fort, Hamlet Fort, James Fort, William Fort, Claudia Fort Heath, Jack Linville, and Jim Linville, in memory of Daniel Wilkins Fort
