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Paulie Couteillou [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_109137

Ulric Henry Ellerhausen, 1879- [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_11576

Ellen Emmett [Folder]

Alternate name:
Rand  Search this
Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_12244

Alfred Bircher [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_20317

Alfred Thomas Britcher [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_26783

Henry Holiday, 1839-1927 [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_57117

Manuel Hugué, 1872-1945 [Folder]

Alternate name:
Manolo  Search this
Additional name:
Hugue, Manuel  Search this
Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_58842

Bertha Jacques [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_60632

G. Kim Jones, 1944- [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_64456

William Wellstood, 1819-1900 [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_76520

Jay Wholley [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_78035

Alfred Boisseau [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_91852

Charles Jarbee [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_91860

Clara J. Taggert McChesney [Folder]

Contents:
Folder(s) may include exhibition announcements, newspaper and/or magazine clippings, press releases, brochures, reviews, invitations, illustrations, resumes, artist's statements, exhibition catalogs.
Topic:
Artists  Search this
Location:
Art & Artist files at the Smithsonian American Art Museum/ National Portrait Gallery Library
Data source:
Smithsonian Libraries
EDAN-URL:
edanmdm:SILAF_94069

Will Foster papers

Creator:
Foster, William Frederick, 1882-1953  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
1919-1974
Scope and Contents:
Biographical material, 1939-1948; correspondence, undated and 1937-1954; business records, 1938-1953; 1 pen and ink drawing; reproductions of works of art, clippings, and exhibition catalogs and announcements undated and 1919-1974, photographs of Foster, his family and works of art, undated; and an album containing photographs of Foster, his family, works of art, and clippings.
Biographical / Historical:
Painter, portrait painter, illustrator; New York, N.Y. and Los Angeles, California.
Provenance:
Donated by Donna Foster Paxton, daughter of Will Paxton, 1986.
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.
Occupation:
Illustrators -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Painters -- California -- Los Angeles  Search this
Portrait painters -- California -- Los Angeles  Search this
Topic:
Magazine illustration  Search this
Painting, American  Search this
Portrait painting, American  Search this
Genre/Form:
Drawings
Identifier:
AAA.fostwill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fostwill

Samuel Wilson Frazer papers

Creator:
Frazer, Samuel Wilson, 1866-1954  Search this
Names:
Scott Carbee School of Art -- Faculty  Search this
Extent:
2.1 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[circa 1880-1980]
Scope and Contents:
Biographical information; correspondence; manuscript and notes for Frazer's book on air-brush techniques, Treatise on the Air Brush (1915); inventory of work; photographs of Frazer and of his work; orders for portraits; financial records, ca. 1933-ca. 1955; exhibition notices; brochures for the Scott Carbee School of Art, Boston; a work of art; and miscellaneous printed material.
Biographical / Historical:
Painter, air brush artist, photographer; Boston, Mass. Attended the Art Students League in N.Y. and studied under John Twachtman, J. Carroll Beckwith and Willard Metcalf. He was a charter member of the Brooklyn Pen and Pencil Club, and a member of the Boston Art Club. He was a pioneer in the field of air-brush art and published a book on the subject in 1915. He became an instructor at the Scott Carbee School of Art in Boston in 1943.
Provenance:
Lent 1991 by Gertrude Frazer, daughter of Samuel Frazer. She subsequently donated the material in March 1993.
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.
Topic:
Airbrush art -- Technique  Search this
Painting, American  Search this
Identifier:
AAA.frazsamu
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-frazsamu

Frank K. M. Rehn Galleries records

Creator:
Frank K. M. Rehn Galleries  Search this
Names:
Bartlett, Frederic Clay, 1873-1953  Search this
Bellows, George, 1882-1925  Search this
Brook, Alexander, 1898-1980  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Chappell, Warren, 1904-  Search this
Clancy, John C., 1897-1981  Search this
Coleman, Glenn O., 1887-1932  Search this
Cook, Howard Norton, 1901-1980  Search this
Cuthbert, Virginia, 1908-2001  Search this
Dasburg, Andrew, 1887-1979  Search this
Gellatly, John, 1853-1931  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Hopper, Edward, 1882-1967  Search this
Hopper, Jo N. (Josephine Nivison), 1883-1968  Search this
James, Alexander, 1890-1946  Search this
Kroll, Leon, 1884-1974  Search this
Luks, George Benjamin, 1867-1933  Search this
Mangravite, Peppino, 1896-  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Reginald, 1898-1954  Search this
McFee, Henry Lee, 1886-1953  Search this
Melchers, Gari, 1860-1932  Search this
Orton, J. Robert  Search this
Pepper, Charles Hovey, 1864-1950  Search this
Phillips, Duncan, 1886-1966  Search this
Poor, Henry Varnum, 1887-1970  Search this
Russo, Alexander  Search this
Spalding, John T.  Search this
Sparhawk-Jones, Elizabeth, 1885-1968  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Spruance, Benton, 1904-1967  Search this
Strater, Henry, 1896-  Search this
Tucker, Allen, 1866-1939  Search this
Tucker, Richard Derby, 1903-  Search this
Winters, Denny Sonke, 1907-1985  Search this
Young, Mahonri Mackintosh, 1877-1957  Search this
Extent:
21.8 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Date:
1858-1969
bulk 1919-1968
Summary:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.
Scope and Content Note:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.

Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.

Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.

Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.

Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.
Arrangement:
Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.

The collection is arranged into 6 series:

Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)

Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)

Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)

Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)

Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)

Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)
Historical Note:
Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.

Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.

Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.

The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.

In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, and remained there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.
Related Material:
John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.

Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.

In addition, the Archives of American Art has among its collections personal papers and oral history interviews of artists and collectors associated with the Rehn Galleries. Researchers are advised to conduct a name search in the Smithsonian Institution Research Information System (SIRIS).
Provenance:
The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Frank K. M. Rehn Galleries records 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:
Gallery owners  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, Modern -- 20th century -- New York (State) -- New York  Search this
Works of art  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Citation:
Frank K. M. Rehn Galleries records, 1858-1969 (bulk 1919-1968). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.franrehg
See more items in:
Frank K. M. Rehn Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-franrehg
Online Media:

Stephen Antonakos papers

Creator:
Antonakos, Stephen, 1926-2013  Search this
Names:
Allentown Art Museum  Search this
Ethniko Mouseio Synchronēs Technēs (Greece)  Search this
Fischbach Gallery  Search this
Galerie Bernier  Search this
Galleria Bonomo  Search this
Galleriaforma  Search this
Ileana Tounta Contemporary Art Center  Search this
John Weber Gallery  Search this
Kalfayan Galleries  Search this
Konrad Fischer Gallery  Search this
La Jolla Museum of Contemporary Art  Search this
Lori Bookstein Fine Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Mouseio Benakē  Search this
Rose Art Museum  Search this
Savannah College of Art and Design  Search this
The Drawing Room  Search this
Ādo furondo gyararī  Search this
Adler, Sebastian  Search this
Bladen, Ronald, 1918-1988  Search this
Kitagawa, Fram, 1946-  Search this
Kokkinos, George  Search this
Koshalek, Richard  Search this
Marzona, Egidio  Search this
Spector, Naomi  Search this
Extent:
24.2 Linear feet
1.73 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Transcripts
Interviews
Photographs
Sketchbooks
Drawings
Blueprints
Obituaries
Date:
1932-2014
bulk 1960-2014
Summary:
The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.
Scope and Contents:
The papers of American sculptor Stephen Antonakos measure 24.2 linear feet and 1.73 GB and date from 1932-2014, with the bulk of the material dating from 1960-2014. The collection documents Antonakos's pioneering work in neon, through biographical material, correspondence, writings and notes, project files, exhibition files, printed and digital material, and photographs.

Biographical material comprises biographical statements and resumes, transcripts of 5 interviews, copies of obituaries, and other records relating to Antonakos's memorial service in 2013.

Correspondence is primarily professional, with scattered personal correspondence, and provides suppemental documentation of all aspects of the artist's career, including gifts, sales, loans, and consignments to galleries and museums such as Fischbach Gallery; John Weber Gallery; Lori Bookstein Fine Art; Galleria Bonomo, Bari; Art Front Gallery, Tokyo; Galerie Bonnier, Stockholm; Galerie Bernier, Athens; Kalfayan Gallery, Athens; Galerie Citronne, Poros; Konrad Fischer Gallery, Berlin; Daniel Marzona Gallery, Berlin; The American Academy of Arts and Letters; The Metropolitan Museum of Art; The Museum of Modern Art; the Onassis Cultural Center; the Museum of Contemporary Art San Diego; the Rose Art Museum, Brandeis University; the Smith College Museum of Art; the Dallas Museum of Art; the National Museum of Contemporary Art, Athens; the State Museum of Contemporary Art, Thessaloniki; and the Benaki Museum, Piraeus.

Writings and notes provide artist statements on all aspects of Antonakos's work, as well as teaching notes from the 1960s.

Project files are a rich source of information on Antonakos's work in neon, particularly for the large-scale permanent Public Works including Hampshire College, Amherst; the Tacoma Dome; Pershing Square, Los Angeles; the Atlanta Hartsfied Airport; the 59th Street Transfer Station, New York City; Faret Tachikawa, Japan; the Stadtsparkasse, Cologne; the Reading Power Plant, Tel Aviv; the San Antonio Public Library; the University of Dijon; the Attiko Metro, Athens; the Mitchell International Airport, Milwaukee; and the Airport of Puglia, Bari. All aspects of the artist's work, from conception on paper through execution and reception by the public, are documented here in correspondence, artist statements and proposals, contracts, insurance records, original drawings, plans and blueprints, printed and digital material, and photographs. Ideas and proposals for projects not executed are also documented in this series, and comprise the same types of material.

Antonakos's conceptual Packages are documented in lists, letters of transmittal, and photographs. The series also holds the contents of a Package given to the Archives of American Art in 1975 and opened, as requested, after his death: a 35mm microfilm of a sketchbook kept by Antonakos from 1974-1975, with sketches and notes about his neon projects.

Antonakos's artistic development can be traced chronologically in the exhibition files from some of his earliest work with neon in combination with found objects, to the use of neon alone. Exhibition files document the artist's progression from placing neon on a base or wall and at the corners and ceilings of rooms, to placing tubes at the edges of panels in order to generate a colored glow around them; furthermore, they document the evolution from his early boxes, contained spaces, and indoor and outdoor rooms, to his meditation spaces and chapels. Also in evidence in this series is the artist's prolific output of drawings, which were shown in numerous exhibitions. Exhibition files include documentation from circa 100 solo shows and from his over 250 group shows, at venues including Allentown Art Museum, the Benaki Museum, The Drawing Room, Galleriaforma, Genoa, Ileana Tounta Contemporary Art Center, Athens, John Weber Gallery, La Jolla Museum of Contemporary Art, Lori Bookstein Fine Art, the National Museum of Contemporary Art, Athens, Rose Art Museum, and the Savannah College of Art and Design. Many of the files include Antonakos's original drawings and plans.

Printed material comprises announcements and catalogs for Antonakos's solo and group exhibitions, posters of the same, press and publicity clippings, and 10 publications about or including Antonakos and his work.

There are 7 photographs of Antonakos, including portraits by George Kokkinos and photos with others including Sebastian Adler, the artist's daughter Evangelina Mary Spector Antonakos, Naomi Spector Antonakos, Ronald Bladen, and Richard Koshalek. Also found are photos of artwork by category, and digital photographs of sample images.

The collection includes 1 reel of microfilm (35mm).
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, circa 1970s-2014 (0.1 linear feet; Box 1)

Series 2: Correspondence, 1964-2014 (3.25 linear feet; Boxes 1-4, 24)

Series 3: Writings and Notes, circa 1966-2012 (0.3 linear feet; Box 4, 0.932 GB; ER01)

Series 4: Project Files, 1965-2014 (8.6 linear feet; Boxes 4-11, 24, OVs 25-40, 0.275 GB; ER02-ER04)

Series 5: Exhibition Files, 1960-2014 (8.95 linear feet; Boxes 11-19, 24, OVs 40-45, 0.094 GB; ER05)

Series 6: Printed Material, 1959-2013 (3.3 linear feet; Boxes 19-23, OVs 46-47)

Series 7: Photographs, 1932-2013 (0.5 linear feet; Box 23, 0.431 GB; ER06)
Biographical / Historical:
American sculptor Stephen Antonakos (1926-2013) was a pioneer in the use of neon as an artistic medium from the early 1960s onward. Born in Agios Nikolaos in southern Greece, he immigrated to the US with his family at the age of four and lived in New York City thereafter.

After serving in WWII he established his first studio in the 1950s in New York City's fur district, a fertile neighborhood for the found objects and found materials of his early large Assemblages, Constructions, and "Sewlages" (sewn fabric collages) through that decade, when he worked also as a commercial artist. Seeing the neon signs in these Manhattan streets night after night released his intuition of the medium's untapped flexibility. He called neon "a paradise" he wished to "control" in his own new way, with abstract geometric forms in space.

Concentric neon circles and squares appeared first, notably in the transitional White Light (1962). Mostly black, it incorporated a cut-up Thonet chair and a box-form of found rabbit fur. In the same year, he moved on to his central engagement with neon in architectural space with his Hanging Neon, whose colored tubes jut diagonally into the viewers' space from a box suspended from the ceiling. He continued this key dynamic boldly in many large mid-1960s installations: Orange Vertical Neon, Red Neon from Wall to Floor, and Red Neon from Wall to Wall. There are small-scale models from the period for many more. All fulfill the artist's definition of his work as "real things in real spaces."

His 1962-63 Pillows and Pillow Drawings, exhibited first at the Contemporary Arts Museum, Houston, are distinguished by the intense engagement of the hand: cutting, adding, sewing, stuffing, drawing, layering, and combining materials in ways that clearly predict his constant practice with drawings and collages through the following decades. The subsequent role of works on paper in forming Antonakos's development cannot be over-emphasized; he drew almost every day. The physicality of these compositions and of the cuts and tears and layering in his collages through the years, make them not images, but objects. The same holds for the many Travel Collages produced from the late 1970s through 2001.

Throughout the 1970s, medium-scale two- and three-dimensional variations of his geometric vocabulary were strategically positioned on white walls in formal dialogue with their sites' ceilings, floors, inside corners, and outside corners. Known as the Direct Neons, these works were exhibited extensively in galleries and museums across Europe and the US. As ever, new work was conceived for each venue's particular sites.

A very large group of Project Drawings from the late 1960s through the early 1970s charts Antonakos's thinking through the Direct Neons and on into installations of greater scale, his Walls and Rooms.

First shown in Athens, the Walls investigated both bold and subtle variations of almost "syntactical" relationships between the neon forms "drawn" on the colored surfaces. Two 1973 Rooms allowed simultaneous formal engagement with interior and exterior architectural spaces. In both, making the entire interior a single unit fulfilled Antonakos's hope of including the viewer within the space of the art. San Francisco Room was exhibited inside the Museum of Art. The Room, placed outdoors in downtown Grand Rapids, offered more viewing options from greater distances, rooftops and, very importantly, with exposure to the daily 24-hour cycle of natural light. 1974, Outdoor Neons for the Fort Worth Art Museum upped the ante further with enormously greater scale and geometric diversity. This was nourishment for Antonakos's central concerns uniting light, form, and time throughout his future Public Works.

The mid-1970s saw a definitive change in the drawings. They became completely abstract, without reference to anything outside the work itself. Often made in series, they explored complete and incomplete linear forms in relation to the proportions of the sheets.

All through the 1970s Antonakos produced his conceptual Packages. Filled, sealed, and sent to individuals or groups of friends, they were meant either never to be opened, to be opened on a specific date, or to be opened after the death of the artist. There were approximately thirty projects. An important set sent in 1974 and 1975 to Richard Artschwager, Daniel Buren, Sol LeWitt, and Robert Ryman to be filled by them was opened twenty-five years later as the central event during the major exhibition Time Boxes 2000 at the Brandeis's Rose Art Museum. Less concerned with their contents than with our consciousness through time of not knowing, they relate to such concepts as "incomplete circle" -- knowing what/that we do not know/see. The Greek art historian Savvas Michael has written: "The material of the Packages is time."

From the late 1970s, for over thirty years, there was an active practice of Public Works in neon. More than fifty were constructed and installed in indoor and outdoor sites in airports, rail stations, university campuses, banks, and downtown areas in cities across the US, Europe, and Japan. They range from the spare 15' incomplete square on the facade of the San Diego Museum of Contemporary Art to the almost 500' treatment of the chimney complex of the Reading Power Plant in Tel Aviv. Antonakos began each project by considering the formal qualities of the site day and night and its use by the public. He considered working for the public a special responsibility.

Moving into the 1980s, Antonakos placed neon forms on painted unstretched canvases and on the faces of large geometric forms on walls and floors. This period also saw the crucial introduction of neon placed behind the edges of wall Panels, so that only the colored glows are seen. These Panels developed into one of his major practices to the end -- their single or segmented geometric surfaces variously monochrome, painterly, or gold or silver-leafed. They have been extensively exhibited in Europe and the US. In 2009 the public-scaled neon Panel The Road to Mistra was commissioned for the Onassis Cultural Center in New York. In response to this work, the New York art historian Irving Sandler wrote, "Essentially a classicist in the Constructivist tradition, he has revealed the poetry of neon."

Antonakos started to design his Chapels and Meditation spaces with neon in the late 1980s and continued through the rest of his life. Their roots lie in his lifelong commitment to Greek Orthodoxy and in the evolution of his activation of geometric space. They include his 1993 Chapel of the Saints in a fortress in Rhodes, which he described in a letter to Elias Kollias as being, at that point, "the masterwork of my life." The full-scale iron Chapel of the Heavenly Ladder was exhibited in the XLVII Venice Biennale and is permanently installed now in Thessaloniki. In 2003, the Greek art critic Alexandra Koroxenides wrote of Antonakos's "capacity to create surroundings of meditation and spirituality." Many Chapels have been created for important temporary exhibitions here and in Greece, and small precise models exist for more of them.

Through the 1980s and to the end, the drawings on various papers and vellums developed in many directions, some full of white space, some filled to the hilt with intensely colored forms -- sometimes singly and often in series. In the mid-1990s Antonakos began using the multicolored pencil, in dense overall hatchings and later in open spatial "clouds." One drawing of 72 dense square units is like an installation as it plays out rhythmically across the four walls of the gallery. The various ideas of the drawings intersect with those of his collages, reflecting always the active hand. Colored or bare, cut, torn, layered, pleated, or crumpled, they maintain their objecthood within the frame.

All these themes and techniques climaxed in his major Artist's Book, Alphavitos, later in the 1980s. Its many material and printing innovations are structured around the cumulative appearance of hand-made papers with letters of the Greek Alphabet recurring intermittently until the last bears the complete alphabet. The composition of complete and incomplete circles and squares on the front and back covers are in silver on the unique volume and in leather relief on the edition. The book incorporates endless ideas of form, color, scale, proportion and, of course, time, as the pages are turned. Related white wood, silver, and marble Reliefs grew out of the making of the book, as did new graphic variations of some of the plates. In 2011 he began a new series of Gold works. Small sculptures shaped with "incomplete" areas sit on bases, and framed works in gold-leafed Mylar and Tyvek hang in frames. As with the drawings, some have cut edges or various forms cut out of them or are crumpled. They are made in varying sizes, singly and in powerful series, and all have many different "faces" as they intersect with the course of natural light over the day. In Greece, they are seen as echoes of Byzantium.

In 2011, Antonakos took on a climactic project in the ruins of an old oil factory in Elefsina, Greece -- a part of the 40 year history of their Festival of Aeschylus. In thirty-four locations throughout the continuous indoor and outdoor site of 17,000 square meters, he placed spare linear neon forms, accumulations, columns, and Panels, hoping, he said, that the visitors might sense "some of the things that I have found in my life and art." It can be seen in the photographs of Panos Kokkinias and on the artist's website.

Antonakos had over 100 solo exhibitions and over 250 group shows. His work has been the subject of numerous books and catalogues including the key 1999 monograph Antonakos by Irving Sandler. The major catalogue for the 2007-2008 Retrospective organized by the J. F. Costopoulos Foundation at the Benaki Museum in Athens includes essays by Martin Filler, Eleftherios Iconomou, Katerina Koskina, Daniel Marzona, and Brian O'Doherty. His work is in the collections of the major museums of New York, Athens, and Thessaloniki, and in many other museums in the US and Europe. In 2011 he received the Lifetime Achievement Awards from the National Academy of Art and the Greek America Foundation.

Since 1963 his studio has been located in Soho.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Stephen Antonakos dated 1975, May 9.
Provenance:
The collection was donated in 1975 and 1981 by Stephen Antonakos, and in 2014 by Naomi Spector Antonakos.
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 born-digital records with no duplicate access copy requires advance notice.
Rights:
The Stephen Antonakos 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:
Art -- Study and teaching  Search this
Neon sculpture  Search this
Sculptors -- New York (State) -- New York  Search this
Art critics  Search this
Genre/Form:
Transcripts
Interviews
Photographs
Sketchbooks
Drawings
Blueprints
Obituaries
Citation:
Stephen Antonakos papers, 1932-2014, bulk 1960-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.antostep
See more items in:
Stephen Antonakos papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-antostep

Research material on John F. Francis

Creator:
Etchison, W. Richard  Search this
Names:
Francis, John F., 1808-1886  Search this
Extent:
46 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1961-1991
Scope and Contents:
Research material on portraits by John F. Francis (1808-1886) including photographs with notes, printed material, and letters to Etchison describing the photographs. The items were originally in a scrapbook.
Biographical / Historical:
Etchison: Art historian; Frederick, Md. John F. Francis: born in Philadelphia, was a painter and silhouettist, who worked in many Pennsylvania towns.
Provenance:
Donated 1991 by Josephine Etchison, the aunt of W. Richard Etchison.
Original collation: scrapbook.
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 historians -- Maryland -- Frederick  Search this
Portrait painters -- Pennsylvania -- Philadelphia  Search this
Topic:
Portrait painting -- 19th century -- United States  Search this
Identifier:
AAA.etchw
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-etchw

Emmet family papers

Creator:
Emmet family  Search this
Names:
Berkshire Museum  Search this
Danforth Museum  Search this
World's Columbian Exposition (1893, Chicago, Ill.)  Search this
Beaux, Cecilia, 1855-1942  Search this
Casals, Pablo, 1876-1973  Search this
De Glehn, Jane Erin Emmet, 1873-1961  Search this
De Glehn, Wilfrid-Gabriel, 1870-1951  Search this
Doyle, Nancy  Search this
Emmet, Julia Colt Pierson, 1829-1908  Search this
Emmet, Lydia Field, 1866-1952  Search this
Emmet, Robert, 1778-1803  Search this
Fontanne, Lynn  Search this
James, Henry, 1843-1916  Search this
La Farge, Bancel, 1865-1938  Search this
Lunt, Alfred  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Metcalfe, Susy  Search this
Millay, Edna St. Vincent, 1892-1950  Search this
Monod, Lucien  Search this
Morgan, Elizabeth Emmet, d. 1934  Search this
Ormond, Violet Sargent  Search this
Quilter, Roger, 1877-1953  Search this
Rand, Ellen Emmet, 1875-1941  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sargent, Emily, 1857-  Search this
Sargent, John Singer, 1856-1925  Search this
Sherwood, Robert E. (Robert Emmet), 1896-1955  Search this
Sherwood, Rosamond, 1899-  Search this
Sherwood, Rosina Emmet, 1854-1948  Search this
White, Stanford, 1853-1906  Search this
Extent:
9.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Date:
1792-1989
bulk 1851-1989
Summary:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts, whose artistic talents flourished during the later 19th through the mid-20th centuries. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators.
Scope and Content Note:
The Emmet Family papers document the lives and careers of two generations of the Emmet family from New Rochelle, New York and Stockbridge, Massachusetts. The collection dates from 1792 to 1989, with the bulk of the material dating from 1851-1989, and measures 9.1 linear feet. Through biographical material, two diaries, correspondence, writings and notes, exhibition files, business records, printed material, two scrapbooks, artwork, and photographs of family, friends, exhibitions, and artwork, the papers provide both a rich overview and detailed insights into the daily lives, relationships, and careers of many members of the family. The collection focuses in particular on sisters Lydia Field Emmet, Jane Erin Emmet de Glehn, and Rosina Emmet Sherwood, their mother, Julia Colt Pierson Emmet, and their cousin Ellen Gertrude "Bay" Emmet, all noted painters and illustrators, whose artistic talents flourished during the late nineteenth through the mid-twentieth centuries.

Biographical material consists of family trees and family histories; individual biographical accounts, award certificates, and documentation for Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and Wilfrid de Glehn; a diary titled "Sedgemere Diary" containing drawings and entries primarily by Rosina Emmet Sherwood, and a smaller diary which mentions Rosina's son, future playwright Robert Sherwood; a documentary by Nancy B. Doyle on two VHS videocassettes, entitled The Emmets: Portrait of a Family; and artifacts comprising a rear-view optical device and locks of hair from an early nineteenth century generation of the Emmet family.

Correspondence forms the bulk of the collection and illustrates the interaction between members of this large and influential family and their colleagues and friends, offering a wide-ranging view of life in the late nineteenth through the mid-twentieth centuries, and through two World Wars. The series consists of letters between family members, primarily Julia Colt Pierson Emmet and her daughters, as well as cousins Henry James, Ellen "Bay" Emmet Rand, and Rosamond Sherwood, and friends Cecilia Beaux, Louis Bancel LaFarge, Frederick MacMonnies, Lucien Monod, Roger Quilter, Augustus Saint-Gaudens, Emily and John Singer-Sargent, Violet Sargent Ormond, and Stanford White. Topics include experiences of the Emmets while studying art in Paris, Rosina's presentation at Queen Victoria's court, Lydia's work at the Columbia Exposition, Jane's marriage to Wilfrid de Glehn and her friendship with John Singer Sargent, portrait painting activities, the troubles of their friend Susy Metcalfe in her marriage to Pablo Casals, and the activities of Rosina's son, playwright Robert Emmet Sherwood, and friends Alfred Lund and Lynn Fontanne.

Writings and notes consist of scattered manuscripts and poems by family members, two notebooks, one identified as belonging to Jane Erin Emmet de Glehn, and typescripts about Wilfrid de Glehn following his death. Also found is a book, Out of Town, written and illustrated by Rosina Emmet Sherwood, and Edna St Vincent Millay's poem "Autum Daybreak" written in Millay's handwriting.

Exhibition files document an exhibition held at the Berkshire Museum/Danforth Museum in Pittsfield/Farmingham, Massachusetts in 1982 entitled The Emmets: A Family of Women Painters, and include two audio cassettes of recordings from the "Art for Lunch" series at the Berkshire Museum discussing the exhibition.

Business records include account books belonging to Lydia Field Emmet and Rosina Emmet Sherwood, both of which document income from artwork and other sources, and expenses; a contract for the reproduction of Lydia Field Emmet's artwork; and a document concerning ownership of property, possibly of Emmet family ancestors.

Printed Material consists of clippings, exhibition announcements and catalogs, and reproductions of artwork by Emmet family members and others.

Two scrapbooks contain a combination of drawings, primarily by Rosina Emmet Sherwood, reproductions of artwork, and photographs.

Artwork includes drawings and sketchbooks by Julia Colt Pierson Emmet, Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn Ellen Emmet Rand, and other Emmet relatives, illustrating the early development of their talent.

Photographs are of family members, including Julia Colt Pierson Emmet and William Jenkins Emmet, their daughters Lydia Field Emmet, Jane Erin Emmet de Glehn and husband Wilfrid de Glehn, Rosina Emmet Sherwood and husband Arthur Murray Sherwood, and Robert Emmet Sherwood as a young man. Also found are photos of friends Richard Harding Davis, Frederick MacMonnies, and Augustus Saint-Gaudens; a series of photographs of the installation at Arden Galleries, New York (1936) for the exhibition Paintings, Drawings and Sculptures by Five Generations of the Emmet Family; and photographs of artwork by Emmet family members.
Arrangement:
The Emmet family papers are arranged as nine series.

Series 1: Biographical Material, circa 1855-1988 (0.6 linear feet; Boxes 1, 10, OV 12)

Series 2: Correspondence, 1792-1985 (6.2 linear feet; Boxes 1-7)

Series 3: Writings and Notes, circa 1870s-1981 (11 folders; Box 7)

Series 4: Exhibition Files, 1947-1983 (0.3 linear feet; Boxes 7-8)

Series 5: Business Records, circa 1799-1945 (7 folders; Box 8)

Series 6: Printed Material, 1872-1989 (0.35 linear feet; Boxes 8, 10)

Series 7: Scrapbooks, 1870-1890 (0.2 linear feet; Boxes 8, 10)

Series 8: Artwork, circa 1850-circa 1920 (0.35 linear feet; Boxes 8, 10)

Series 9: Photographs, circa 1870s-circa 1950s (1 linear foot; Boxes 8-9, 11)
Biographical Note:
The Emmet family, descended from patriot Thomas Addis Emmet, brother of Irish martyr Robert Emmet, counts many physicians, lawyers, and writers (including cousin Henry James) among its ranks. Although evidence of artistic talent existed in several previous generations, it flourished during the later 19th through the mid-20th centuries in the professional portraiture of sisters Rosina Emmet Sherwood, Lydia Field Emmet, Jane Erin Emmet de Glehn, and their cousin Ellen "Bay" Emmet Rand.

The eldest daughter of Julia Colt Pierson Emmet (1829-1908), herself a talented illustrator who had studied under Daniel Huntington, Rosina "Posie" Emmet (1854-1948) studied under William Merritt Chase at his Tenth Street Studio in New York and under Robert-Fleury at the Academie Julian in Paris. Before her marriage to Arthur Murray Sherwood in 1887, Rosina established a studio in New York and continued to submit illustrations to various publications. During her marriage, she slowed her creative activities, until financial reverses dictated her return to her career around the turn of the 20th century. Her daughter Rosamond Sherwood (1899-1990) was also a portrait painter. Her son, Robert Emmet Sherwood (1896-1955) became a four-time Pulitzer Prize-winning playwright.

Lydia Field Emmet (1866-1952) studied under Collin, Bouguereau, MacMonnies, and Robert-Fleury at the Academie Julian. Upon her return to New York, Lydia continued her studies under Chase, Kenyon Cox, H. Siddons Mowbray, and Robert Reid at the Art Students League, as well as at Chase's Shinnecock Summer School of Art. She established her portrait studio in New York City and began spending summers at Stockbridge, Massachusetts, where she built her home, "Strawberry Hill," in 1905. Best known for her portraits of children, Lydia's subjects were members of the socially prominent families of New York, Boston, and Philadelphia.

The youngest sister, Jane Erin Emmet (1873-1961), also studied with Chase in New York, and in Paris. In 1904, she married British landscape painter Wilfrid Von Glehn, who had visited the United States with his friend John Singer Sargent. (The Von Glehns' surname was changed to De Glehn, in 1919.) Settling in London, Jane continued her painting, befriended many artists and composers, and accompanied her husband and Sargent on several art-related journeys through Europe.

The Emmet sisters' cousin, Ellen Gertrude "Bay" Emmet (1875-1941), studied in New York at the Art Students League and under Frederick MacMonnies in Paris, becoming a National Academician in 1934. She married William Blanchard Rand in 1911 and settled in Salisbury, Connecticut. After the stock market crash of 1929, Bay's portraits of prominent society figures provided most of her family's income.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4544) including one scrapbook, compiled by Rosina Emmet Sherwood, consisting of portrait sketches, drawings of her dogs, genre scenes, travel views, and photographs of travels, friends, actors, and the ship "Scythia,". Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1988-1991, the bulk of the Emmet family papers were donated by Rosamond Sherwood, daughter of Rosina Emmet Sherwood (via Katharine Emmet Bramwell of New York), by Rosamond Sherwood's estate (via F. Douglas Cochrane, executor, from Boston), and by Rosamond's nieces, Virginia Sherwood and Julia Shipway. Additionally, one scrapbook was lent for microfilming in 1990 and subsequently donated by Mrs. Earl Maize. Douglas Cochrane then loaned another scrapbook for microfilming (reel 4344) in 1991 which was returned to Mrs. Earl Maize.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Emmet family 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:
Art -- Study and teaching -- France -- Paris  Search this
Works of art  Search this
Women painters -- New York (State)  Search this
Painting, American -- New York (State)  Search this
Illustrators -- New York (State)  Search this
Painters -- England -- London  Search this
Playwrights  Search this
Portrait painters -- New York (State) -- New York  Search this
Singers  Search this
World War, 1914-1918  Search this
World War, 1939-1945  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Photographs
Video recordings
Drawings
Diaries
Sound recordings
Citation:
Emmet family papers, 1792-1989 (bulk 1851-1989). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.emmefami
See more items in:
Emmet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-emmefami
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