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American Academy in Rome records

Creator:
American Academy in Rome  Search this
Names:
American Academy in Rome  Search this
American School of Architecture in Rome  Search this
American School of Classical Studies in Rome  Search this
Aldrich, Chester Holmes, 1871-1940  Search this
Boring, William, 1859-1937  Search this
Breck, George, 1863-1920  Search this
Dinsmoor, William B.  Search this
Egbert, J. C. (James Chidester), 1859-1948  Search this
Ely, Theo. N.  Search this
Faulkner, Barry, 1881-1966  Search this
Guernsey, Roscoe  Search this
Hewlett, James Monroe  Search this
Kendall, William M.  Search this
La Farge, C. Grant (Christopher Grant), 1862-1938  Search this
Marquand, Allan, 1853-1924  Search this
McKim, Charles Follen, 1847-1909  Search this
Mead, William Rutherford, 1846-1928  Search this
Millet, Francis Davis, 1846-1912  Search this
Morey, Charles Rufus, 1877-1955  Search this
Mowbray, H. Siddons (Harry Siddons), 1858-1928  Search this
Platt, Charles A. (Charles Adams), 1861-1933  Search this
Pope, John Russell, 1874-1937  Search this
Roberts, Laurance P.  Search this
Smith, James Kellum, 1893-1963  Search this
Stevens, Gorham Phillips, 1876-  Search this
Vedder, Elihu, 1836-1923  Search this
Vitale, Ferrucio, 1875-1933  Search this
Ward, John Quincy Adams, 1830-1910  Search this
Extent:
65.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1855-2012
Summary:
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.
Scope and Content Note:
The records of the American Academy in Rome measure 65.9 linear feet and date from 1855 to 2012. The collection documents the history of the institution from its inception in 1894 as the American School of Architecture in Rome, through the end of World War II, and chronicles the contributions the academy has made to America's cultural and intellectual development. Nearly one-half of the collection consists of an unprocessed addition received in 2014 containing records that mostly post-date World War II and include correspondence and subject files of officers and executives based in the New York office of American Academy in Rome.

Items predating the 1894 founding of the American School of Architecture in Rome are personal papers and memorabilia of individuals associated with the institution.

Series 1: Predecessor Institutions, is composed of the records of the American School of Architecture in Rome, 1894-1898, and the American School of Classical Studies in Rome, 1895-1913. Records of the American School of Architecture in Rome include records of its Managing Committee, correspondence, financial records, and printed matter. Among the Managing Committee's records are notes and correspondence relative to the founding of the institution, minute books and reports; also, legal documents including records concerning its dissolution prior to being reorganized as the American Academy in Rome. Correspondence is mostly that of Vice President Charles F. McKim who handled administrative matters. Financial records include capital stock certificates, invoices and receipts. Printed matter consists of scholarship competition announcements.

Records of the American School of Classical Studies in Rome include records of its Managing Committee, Committee on Fellowships, publications, printed matter, and treasurers' records. The Managing Committee's records consist of the proposed resolution concerning its merger with the American Academy in Rome. Committee on Fellowship records are comprised of correspondence, reports, and fellowship applications. Publications records include correspondence and invoices. Printed matter includes general information, annual reports of the Managing Committee and Director, annual reports of the Committee on Medieval and Renaissance Studies, fellowship applications and examination questions, and the proposed consolidation agreement. Treasurers' records include the files of Alex. Bell and Willard V. King. Bell's sparse records consist of a budget, receipts for salary payments, an invoice, canceled checks, and correspondence. King's files, while more substantial than those that survive from Bell's tenure, are quite incomplete. They include correspondence, banking records, budgets and financial statements, investment records, invoices, and receipts for salaries and expenses.

Series 2: Board of Trustees Records, is comprised of legal documents, minutes, and reports; records of Trustee committees; records of officers; and records of individual Trustees. Legal documents, 1897-1926 and undated, consist of by-laws and amendments, certificate of incorporation, and constitution and amendments. Minutes and reports of the Board of Trustees, 1897-1947 and 1957, including those of its annual meetings, are carbon copies rather than the official minute books, and are incomplete. Reports of officers are incomplete, as well. Also included are reports of Officers'/Trustees' visits to Rome, and reports of the Director and Secretary in Rome submitted to the Board of Trustees.

Records of Trustee committees, 1905-1946 and undated, consist of reports and/or minutes arranged alphabetically by committee; these, too are incomplete, with many committees represented by a single report. Committees represented are: Building Committee, Carter Memorial Committee, Endowment Committee, Executive Committee, Finance Committee, Library Committee, McKim Memorial Committee, Nominating Committee, Committee on Publications. Committee on the School of Classical Studies records consist of its own minutes and reports, reports of its Advisory Council and the Jury on Classical Fellowships. Committee on the School of Classical Studies also include reports of officers and staff of the School of Classical Studies to the Committee on the School of Classical Studies as follows: Director, Professor in Charge, Annual Professor, Director of the Summer Session, Professor of Archaeology, Curator of the Museum, Editor, Librarian, and Committee on the Welfare of Women Students. Committee on the School of Fine Arts records consist of its own minutes and reports, reports of its Special Committee on the Plan and Expense of a Department of Music in the School of Fine Arts, and report of Fine Arts Program, Triptych Project with the Citizens Committee for the Army and Navy, Inc.; also, reports of officers and staff of the School of Fine Arts to the Committee on the School of Fine Arts as follows: Director, Professor in Charge, Associate in Charge, Annual Professor, Professor in Charge of the Department of Musical Composition. In addition, there are minutes and/or reports of the Committee of Twelve and Subcommittee of Five and the Special Committee on Villa Aurelia.

Records of Officers. 1898-1957 and undated, consist mainly of correspondence files and reports, with large numbers of transcriptions and carbon copies. Included are records of: Presidents Charles F. McKim, William R. Mead, Charles A. Platt, John Russell Pope, and James Kellum Smith; Vice Presidents Theodore N. Ely, George B. McClellan, and Henry James; Secretaries H. Siddons Mowbray (Secretary/Treasurer), Frank D. Millet, C. Grant La Farge, William B. Dinsmoor, and H. Richardson Pratt; and Treasurers William R. Mead, William A. Boring, Leon Fraser, and Lindsay Bradford Office files of President Mead, Secretaries Millet and La Farge, and Treasurer Boring are the most complete; files of other individuals, the Vice Presidents in particular, are often quite sparse.

Records of individual Trustees, 1902-1946 and undated, consist of material relating to official Academy business that was created or maintained by each in his capacity as trustee. (Note: many of these individuals also served as officers or staff of the Academy, and their records documenting those functions will be found in the appropriate series.) Included in this subseries are the records of: Chester H. Aldrich, Gilmore D. Clarke, James C. Egbert, Barry Faulkner, Allan C. Johnson, William M. Kendall, C. Grant La Farge, Edward P. Mellon, Charles Dyer Norton, Charles A. Platt, John Russell Pope, Edward K. Rand, John C. Rolfe, James Kellum Smith, S. Breck Trowbridge, Ferruccio Vitale, John Quincy Adams Ward, Andrew F. West, and William L. Westerman. These records tend to be sparse; files maintained by James C. Egbert, Barry Faulkner, Allan C. Johnson, and Ferruccio Vitale are notable exceptions.

Series 3: New York Office Records, consists of records of staff, rosters, printed matter, photographs, personal papers, Association of Alumni of the American Academy in Rome, and miscellaneous records.

Records of staff, 1919-1950 and undated, include the office files of Executive Secretaries Roscoe Guersney, Meriwether Stuart, and Mary T. Williams; Librarian George K. Boyce; and Endowment Fund Campaign Secretaries Phillilps B. Robinson and Edgar I. Williams.

The rosters, 1895-1939 and undated, are printed forms completed by fellows and students, with occasional attachments (usually correspondence or photographs). Included are the rosters of the School of Fine Arts, School of Classical Studies, and School of Classical Studies Summer Sessions.

Printed matter, 1905-[1981?] and undated, has been classified as Academy produced and produced by others. Items produced by the Academy, 1905-[1981?], include general information including act of incorporation and by-laws, fundraising brochure, constitution, Directory of Fellows and Residents, histories of the institution, newsletter of the Director, and printed items relating to special events. Printed matter specifically relating to the School of Classical Studies includes annual announcements, the consolidation agreement, a directory, fellowship announcements and applications, lecture announcements, newsletters, and brochures about summer sessions. School of Fine Arts printed matter includes annual announcements, concert programs, exhibition checklists and catalogs, fellowship announcements and application forms, history, and newsletters.

Printed matter produced by others, 1905-1940 and undated, consists of three scrapbooks of news clippings and photographs compiled by the American Academy in Rome, extensive clipping files, and articles from miscellaneous publications. All of these items are about the American Academy in Rome, or by or about individuals associated with the institution. Also included is a poster for Leave Courses offered at the Academy for U. S. servicemen.

Photographs, 1891-1941 and undated, are organized into the categories of works of art, people, buildings, places, events, and miscellaneous. Works of art are by visiting students and fellows, Frank D. Millet, collaborative problems, Rome Prize Competitions in Architecture, Rome Prize Competitions in Landscape Architecture, and Prix de Rome Competition exhibitions. Photographs of people are both of individuals and groups; among the groups are summer school students and fellowship winners.

Buildings depicted are American Academy properties. Among them are the "New Building," including interior and exterior construction views; studios; and Villas Aurelia, Mirafiore, and Richardson. Also included is a group of photographs of Academy architecture students measuring buildings in Rome and Florence. Places pictured are views of the Academy property and surrounding areas.

Photographs of events include cricket games, Thanksgiving and Fourth of July dinners, Architectural League exhibition, and inauguration of the Manship Fountain. Miscellaneous photographs are of an architectural drawing for a proposed building.

Personal Papers, Memorabilia, and Ephemera, 1855-1923 an undated, were donated to the American Academy in Rome or otherwise left on its premises. None are official records generated by the institution. Included are: Ernest Lewis' photograph album/scrapbook; Allan Marquand's papers; Charles F. McKim's memorabilia, photographs, printed matter, and artifacts; Charles R. Morey's correspondence; and Elihu Vedder's Bible.

Records of the Association of the Alumni of the American Academy in Rome, 1913-1945 and undated), consist of a small number of scattered records including correspondence, fellows' war/government service information (compiled by Sidney Waugh), membership lists, and a newsletter.

Miscellaneous records, 1899-1926 and undated, are writings and architectural records. Writings consist of published and unpublished manuscript material about the American Academy in Rome and its history, and article by H. Siddons Mowbray advising on ornamentation, and text and illustrations for the Art and Archaeology issue on the Academy. Also included are fragments of unidentified letters. Architectural records [oversize] include property and floor plans of Villas Aurora, Chiaraviglio, Ferrari, and Ludovisi.

Series 4: Rome Office Records, consist of records of staff and personal papers. Records of staff, 1903-1947 and undated, include the office files of Directors H. Siddons Mowbray, George Breck, Jesse Benedict Carter, Gorham Phillips Stevens, James Monroe Hewlett, Chester H. Aldrich, Amey Aldrich [Acting Director, very briefly, perhaps unofficially], Charles R. Morey, and Laurance P. Roberts; and records of two members of the School of Fine Arts faculty, Frank P. Fairbanks, Professor of Fine Arts, and Felix Lamond, Professor of Music. Records of Carter, Stevens, Hewlett, and Aldrich appear to be fairly complete; records of early directors are sparse; those of Morey and Roberts appear to be missing significant portions; and those of Professors Fairbanks and Lamond consist of a few scattered items.

Also surviving are the personal papers of Director Gorham Phillips Stevens, 1912-1931 and undated), consisting of correspondence, financial records, and documentation of professional and charitable activities.

Series 5: Unprocessed Addition to the American Academy in Rome Records was received in 2014 and consists of 31.6 linear feet of the New York office's records for officers, directors, and executives.
Arrangement:
It was obvious that before they came to the Archives of American Art the records had been rearranged more than once, and in such a way that materials from many different departments had been intermingled. In keeping with archival theory and practice, the records were organized to reflect the structure and operation of the institution that created the records, making them more understandable and accessible to a wide variety of researchers.

In general, the records of each officer and staff member are arranged alphabetically, with general correspondence preceding the alphabetical sequence; arrangement within each file is chronological, unless noted otherwise.

Records of the American Academy in Rome are organized into five major series. Each series, except series 5, is divided into several subseries, with the arrangement described in detail in the series descriptions.

Missing Title

Series 1: Predecessor Institutions, 1894-1913 (box 1; 0.88 linear ft.; Reels 5749-5750)

Series 2: Board of Trustees Records, 1897-1957, undated (boxes 1-17, 35, 37; 15.25 linear ft.; Reels 5750-5777)

Series 3: New York Office, 1855-circa 1981, undated (boxes 17-32, 36; 15 linear ft.; 5777-5795)

Series 4: Rome Office, 1903-1943, undated (boxes 32-34; 3 linear ft.; 5795-5800)

Series 5: Unprocessed Addition to the American Academy in Rome Records, 1933-2002 (boxes 35-103; 31.6 linear ft.)
Historical Note:
While in Chicago to advise and work on the fine arts section of the 1893 World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, and Richard Howland Hunt, painters John La Farge and Frank Millet, and sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly. From their collaborative experience and discussions came the idea for an American school for artists in Europe. Charles F. McKim was especially enthusiastic. He strongly believed that collaborative experience should be available to future American artists, and perceived a real need for an American school in Europe--preferably in Rome, the very best place to study art, in his opinion.

By March of the following year, McKim was busy devising plans for the school and persuading like-minded architects and artists to assist. He proposed to finance the school by convincing institutions with traveling scholarships in the arts to send those students to Rome. Columbia University, University of Pennsylvania, and the Rotch Scholarship fund readily agreed to the scheme, and in ensuing years many others followed suit. In October, 1894, the American School of Architecture in Rome opened temporary quarters in the Palazzo Torlonia. The school consisted of its Director, Austin Lord, three fellows, and a visiting student; its "library" contained but one volume.

A move to the larger, more suitable Villa Aurora occurred in July 1895. Rent from two subtenants (the newly established American School of Classical Studies in Rome and the British and American Archaeological Society Library in Rome), along with a personal contribution from McKim, made this financially feasible.

The American School of Architecture in Rome was incorporated in the State of New York, 1895, and 10 shares of capital stock were issued. Despite substantial fundraising efforts in Chicago, New York, and Boston, severe financial problems continued. The American School of Classical Studies in Rome vacated the Villa Aurora in 1896--and with it went a sizeable portion of the School of Architecture's income. McKim frequently made up the deficit from his own pocket.

Eventually, it was decided that the American School of Architecture in Rome must be reorganized along the lines of the French Academy and that national sponsorship needed to be obtained through an act of Congress. In June of 1897, the American School of Architecture in Rome voted to dissolve itself and create the American Academy in Rome. The new institution would assume all assets and obligations, fellowships in painting and architecture were to be added to the program, and its Board of Trustees would include architects and artists. The Academy is not a school. Its fellows and visiting students, already professionally trained, go to Rome for further development and for collaboration and association with others. In the words of Director Gorham Phillips Stevens: "The object of the American Academy in Rome is not to afford opportunities for a few individuals to perfect themselves for the practice of their chosen professions. The ideal is to create an atmosphere in which a limited number of carefully selected artists and scholars may develop that synthesis of intellectual culture which will make them worthy to preserve and continue the great traditions of the past in order that the standard of art and literature may be handed on from year to year, constantly strengthened and improved."

Beginning in 1901, bills to make the American Academy in Rome a "national institution" were introduced in Congress on several occasions. A hearing was finally scheduled in 1905, and a revised bill that prohibited government funding and specified that U.S. officials may not be Trustees was signed into law. Serious efforts to create an Endowment Fund and secure better quarters were associated with the movement to obtain status as a national institution. The Academy was successful in meeting all of these objectives. In 1904, the Academy moved to the Villa Mirafiore (also known as Villa Mirafiori), which it soon purchased and renovated. The Endowment Fund raised well over a million dollars. Donors of $100,000 to the Endowment Fund, designated "Founders" of the American Academy in Rome, were: The Carnegie Foundation, Henry C. Frick, Harvard College, Charles F. McKim, J. P. Morgan, Sr., J. P. Morgan, Jr., The Rockefeller Foundation, John D. Rockefeller, Jr., William K. Vanderbilt, and Henry Walters. Other categories of donors were "Incorporators" (a new Act of Incorporation was required at the time the American Academy in Rome was chartered as a national institution) and "Life Members."

The American School of Classical Studies in Rome, which had been established by the Archaeological Society in 1895 and during its first year shared the Villa Aurora with the American School of Architecture in Rome, entered into a consolidation agreement with the American Academy in Rome in 1911. Their merger went into effect on the last day of 1912, and ever since, the American Academy in Rome has consisted of the School of Fine Arts and the School of Classical Studies, administered by a common director. The School of Classical Studies is composed of fellows and visiting scholars who are graduate students, secondary teachers, or professors engaged in research in the areas of archaeology, ancient art, philology, and humanistic studies. Women were a part of the School of Classical Studies from its beginning, but were not permitted to participate in the School of Fine Arts until well after World War II. Beginning in 1923, the School of Classical Studies instituted Summer Sessions which appealed to secondary teachers, and attracted an enrollment that was largely female.

Originally, the School of Fine Arts offered fellowships in architecture, painting, and sculpture. Fellowships in landscape architecture were added in 1915; in 1920, a Department of Music was established, and along with it fellowships in musical composition. Fellowships in art history were established in 1947. Unmarried men under age 30 were eligible to compete for the fine arts fellowships awarded annually (except for landscape architecture, awarded every third year); the duration of fellowships ranged from one to three years at various points in the institution's history. In residence along with fellows of the American Academy in Rome, might be holders of various traveling scholarships: the McKim Fellowship, the Columbia Traveling Scholarship, the Perkins Scholarship, the Robinson Traveling Scholarship (Harvard), the Rotch Scholarship, the Julia Appleton Scholarship, the Traveling Scholarship and Stewardson Memorial Scholarship (University of Pennsylvania), the Cresson Scholarship (Pennsylvania Academy of the Fine Arts), the Drexel Institute Traveling Scholarship, the Lazarus Scholarship (Metropolitan Museum of Art), the Lowell Scholarship (Massachusetts Institute of Technology), and the Rinehart Scholarship (Peabody Institute, Baltimore). Visiting students, who remained for a much briefer period than fellows or recipients of various traveling scholarships, were admitted to all lectures and granted use the library, but resided elsewhere. The Academy opened an Atelier in downtown Rome for visiting students in 1927, which operated until financial considerations forced its discontinuation seven years later.

As the merger was being planned, J. P. Morgan, Sr., who was interested in both the American Academy in Rome and the American School of Classical Studies in Rome, began buying properties on the Janiculum, adjacent to Villa Aureilia. Villa Aurelia, built on the summit of the Janiculum in 1650, had been bequeathed to the American Academy in Rome in 1909 by Clara Jessup Heyland. Complications surrounding the gift of Villa Aurelia--including the will being contested by Mrs. Heyland's brother, and problems with unsettled tax assessments--were overcome in the interest of acquiring the outstanding building and its extensive grounds. Not long before his death in 1913, Morgan donated his neighboring land, and the American Academy in Rome continued to expand its Janiculum holdings through purchases and gifts from others. Morgan also agreed to provide a loan for construction of a new building. This building, designed by McKim, Mead, and White and known as the Main Building or Academy Building, opened in 1915; it served as the fellows' residence and work area, and included room for the library, offices, and space for exhibitions and other public events.

During World War I, the American Academy in Rome managed to remain open, although no new fellows arrived during the war years and the number of resident fellows and staff dwindled considerably. Most who remained were involved in some type of civilian war work, often with the Red Cross. In fact, Villa Aurelia was rented by the Red Cross in Italy for office space, and the Main Building was offered as a convalescent hospital, but the war ended before it could be put to that use.

After Italy declared war on the United States in 1941, the American Academy in Rome closed for the remainder of World War II. Those who had been awarded fellowships in classics just prior to the Academy's closing were given the option of using their stipends for study at home or waiting until conditions permitted travel to Rome. A very reduced staff stayed to care for the property and continue library cataloguing, coping with often severe wartime shortages of food and fuel. In addition, there were financial hardships. When bank accounts of enemy aliens were frozen and it was no longer possible to transfer funds from the United States, the Swiss Legation and Vatican arranged for loans to keep the Academy and its staff afloat. Funds that would have been awarded to new fellows during this period were put to use in other ways. In 1943, the American Academy in Rome made a grant to the Citizen's Committee for the Army and Navy, Inc. for competitions to award commissions to artists and art students throughout the country, funding more than 100 triptychs for chapels, as well as murals, medals, and sculpture. Seniors in American colleges and universities were eligible to compete for several scholarships for graduate work in classical studies awarded by the American Academy in Rome.

In 1945, the Academy was the site of Leave Courses on various aspects of Italian culture offered to servicemen. From the end of the war until the Academy reopened at the start of the 1946/47 academic year, G.I. Fellowships were offered to discharged soldiers wishing to study at the Academy, making the institution eligible to receive surplus equipment and rations. During this time intensive planning was underway for administrative changes and new programs.

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1893 -- While in Chicago to collaborate on the fine arts section for the World's Columbian Exposition, architects Charles F. McKim, Daniel Burnham, Richard Howland Hunt, painters John La Farge, and Sculptors Augustus Saint-Gaudens, and Daniel Chester French, among others, met regularly and from their collaborative experience and discussions came the idea for an American school in Europe.

1894 -- American School of Architecture in Rome opened in temporary quarters at the Palazzo Torlonia with Austin Lord, Director, three fellows, and a visiting student.

1895 -- Villa Aurora leased with 2 subtenants, the American School of Classical Studies and the British and American Archaeological Society Library in Rome American School of Architecture incorporated and 10 shares of capital stock issued (2 each to McKim and Hunt, and 1 to Burnham, Kendall, Schermerhorn, Boring, Garland, and Dill) McKim visits Rome.

1896 -- Metropolitan Museum of Art, administrator of Jacob H. Lazarus Scholarship for the study of mural painting, agrees to send the winner to Rome American School of Classical Studies in Rome vacates Villa Aurora.

1897 -- American School of Architecture in Rome dissolved and reorganized as the American Academy in Rome; the assets (including the lease on Villa Aurora) of the American School of Architecture in Rome were transferred and its program expanded to include fellowships in painting and sculpture Samuel A. B. Abbott appointed first Director Rome Prize discontinued (for 9 years) due to lack of funds.

1898 -- Incorporated in New York State; trustees begin to focus on raising an endowment.

1904 -- Move to Villa Mirafiore (also known as Villa Mirafiori); occupied until 1914.

1905 -- Chartered by the Congress of the United States; a bill signed by President Roosevelt made the American Academy in Rome a national institution (receiving no government funding and barring U.S. officials from acting as Trustees).

1906 -- Purchase of Villa Mirafiore finalized; renovations begun.

1909 -- Villa Aurelia bequeathed to the Academy by Clara Jessup Heyland (used until 1932); there were protracted problems surrounding the acquisition of the property including a brother who contested the will and unsettled taxes.

1911 -- School of Classical Studies in Rome (established by the Archaeological Institute of America in 1895) and the American Academy in Rome announce their consolidation [the merger became effective on the final day of 1912].

1912 -- Lands on the Janiculum adjacent to Villa Aurelia, recently acquired by J. Pierpont Morgan, Sr., transferred to the American Academy in Rome.

1913 -- American Academy in Rome now consists of the School of Fine Arts and the School of Classical Studies. New York office moves to the Architect's Building, 101 Park Ave., remaining at this location until 1973. By this date, largely through the generosity of J. Pierpont Morgan, Sr., nearly all of the land bounded by Via Angelo Masina, Via Giacomo Medici, Via Pietro Riselli, and the Aurelian Wall on the Janiculum had been purchased and many improvements made to the properties near the Villa Aurelia. Construction begins on the new Academy building designed by McKim, Mead, and White and situated on the grounds of Villa Aurelia; financed through a loan from J. Pierpont Morgan, Sr. (after Morgan Sr.'s death, his son offered to cancel the loan at an amount equal to funds raised by the Academy for the purpose).

1915 -- First Fellowship in Landscape Architecture established; opening of new Academy building housing the fellows' residential quarters, work areas, library, offices, and spaces for public programs.

1917 -- Villa Aurelia rented to the Red Cross for office space, and the new Main building was slated to become a convalescent hospital, but the war ended before it could be put to use.

1919 -- New York office reorganized by Roscoe Guernsey, executive secretary; sale of Villa Mirafiore; Academic Council established in Rome.

1920 -- Department of Music and Fellowship in Musical Composition established.

1923 -- School of Classical Studies establishes summer sessions, largely attended by teachers.

1926 -- Second Fellowship in Landscape Architecture funded by Garden Club of America (later permanently endowed).

1927 -- Academy opens an Atelier in downtown Rome, providing studios for visiting students (operated until 1934).

1929 -- First Thomas Spencer Jerome lecturer appointed.

1941 -- Academy closes for duration of World War II; a skeletal staff remain behind to care for the property and continue library cataloguing; Italy declares war on the United States.

1942 -- After transfer of funds from the U.S. proved impossible and enemy aliens were prohibited from withdrawing their own funds from Italian banks, the Swiss Legation and Vatican offered assistance to the Academy by providing loans.

1943 -- Academy grant to Citizen's Committee for the Army and Navy, Inc., funded hundreds of triptychs; murals, medals, and sculptures also commissioned Academy awards scholarships in classical studies at American colleges and universities.

1945 -- "Leave courses," held at the Academy, consisting mainly of lectures by distinguished scholars still in Rome, instituted for U.S. servicemen.

1946 -- Regular program resumes at the start of the academic year.

1947 -- Fellowship in the History of Art established.

1965 -- Loan of printed matter for microfilming by the Archives of American Art (reels ITRO 2-3 and 11-13).

1973 -- New York office moves to American Federation of Arts building, 41 East 65th St. (until 1993).

1982 -- Gift of New York office records to the Archives of American Art.

1990 -- Gift of Rome office records to the Archives of American Art.

1993 -- New York office moves to Metropolitan Club, 7 East 60th St.
Related Material:
Papers of a number of former fellows, trustees, and other individuals associated with the American Academy in Rome are among the holdings of the Archives of American Art.

Chaloner Prize Foundation records, 1915-1974 (microfilm reels 5664-5669) were received with the American Academy in Rome records. They have been arranged and described as a separate collection.

Valentine, Lucia and Alan Valentine. The American Academy in Rome, 1894-1969. Charlottesville: University Press of Virginia, 1973.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels ITRO 2-3, and ITRO 11-13) including annual reports, exhibition catalogues, a history of the American Academy in Rome, the American Academy in Rome at the World's Fair, and the Golden Gate Exposition and newsletter. Loaned materials were returned to the lender and can be found at the American Academy in Rome, Italy. This material is not described in the collection container inventory.
Provenance:
The material on reels ITRO 2-3 and ITRO 11-13 were lent to the Archives of American Art for microfilming by the American Academy in Rome in 1965. Records of predecessor institutions, the Board of Trustees, and the New York office, including photographs and personal papers, were donated in 1982 by the Academy president, Calvin G. Rand. In 1990, Rand also gifted the Rome office records and the personal documents of Gorham Phillips Stevens. An addition of New York office records was donated in 2014 by the Academy director, Adele Chatfield-Taylor.
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 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.
Topic:
Architecture -- Study and teaching  Search this
Architecture, Classical -- Study and teaching  Search this
Art -- Study and teaching  Search this
Art schools -- Italy -- Rome  Search this
Genre/Form:
Photographs
Citation:
American Academy in Rome records, 1855-2012. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ameracar
See more items in:
American Academy in Rome records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eb425e5a-26de-478b-8ecc-8a9006e9dc52
EDAN-URL:
ead_collection:sova-aaa-ameracar
Online Media:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1962

Creator:
Carnegie Institute, Museum of Art  Search this
Subject:
East, Alfred, Sir  Search this
Church, Samuel Harden  Search this
Chase, William Merritt  Search this
Homer, Winslow  Search this
Hassam, Childe  Search this
Saint-Gaudens, Homer  Search this
Thayer, Abbott Handerson  Search this
Beatty, John W. (John Wesley)  Search this
Alexander, John White  Search this
Beaux, Cecilia  Search this
Brush, George de Forest  Search this
M. Knoedler & Co.  Search this
Gallery of William Macbeth  Search this
Corcoran Gallery of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Type:
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1962. Archives of American Art, Smithsonian Institution.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Theme:
Art organizations  Search this
Record number:
(DSI-AAA_CollID)7343
(DSI-AAA_SIRISBib)209496
AAA_collcode_carninst
Theme:
Art organizations
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209496
Online Media:

Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 252.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; and Department of Fine Arts letterpress copy books.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 252.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; and Department of Fine Arts letterpress copy books.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.
Arrangement:
The collection is arranged into five series:

Missing Title

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Function:
Art museums -- Pennsylvania
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw941920dd5-82b0-485f-802d-62b012a74357
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

Agency history, 1972-

Creator:
Smithsonian Gardens  Search this
Subject:
Buckler, James R  Search this
Meehan, Kathryn  Search this
Faust, Barbara  Search this
Schneider, Jeffrey  Search this
Columbus, Joy  Search this
Smithsonian Institution Office of Physical Plant Horticulture Services Division  Search this
Smithsonian Institution Office of Plant Services Horticultural Services Division  Search this
Smithsonian Institution Office of Facilities Management and Reliability Horticulture Services Division  Search this
Smithsonian Institution Office of Facilities Management Horticulture Services Division  Search this
Smithsonian Institution Office of Museum Programs Office of Horticulture  Search this
American Alliance of Museums  Search this
Archives of American Gardens  Search this
Type:
Mixed archival materials
Date:
1972
1972-
Topic:
Gardens  Search this
Horticulture  Search this
Landscape gardening  Search this
Landscape architecture  Search this
Gardens--Educational aspects  Search this
Greenhouses  Search this
Pests--Integrated control  Search this
Garden ornaments and furniture  Search this
Horticultural exhibitions  Search this
Outdoor furniture  Search this
Orchids  Search this
Local number:
SIA AH00447
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_404645

Henry Varnum Poor papers

Creator:
Poor, Henry Varnum, 1887-1970  Search this
Names:
Montross Gallery  Search this
Skowhegan School of Painting and Sculpture  Search this
Benton, William, 1900-1973  Search this
Biddle, George, 1885-1973  Search this
Billing, Jules  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Caniff, Milton Arthur, 1907-1988  Search this
Ciardi, John, 1916-  Search this
Czebotar, Theodore  Search this
Deming, MacDonald  Search this
Dickson, Harold E., 1900-  Search this
Dorn, Marion, 1896-1964  Search this
Duchamp, Marcel, 1887-1968  Search this
Esherick, Wharton  Search this
Evergood, Philip, 1901-1973  Search this
Garrett, Alice Warder  Search this
Houseman, John, 1902-1988  Search this
Marston, Muktuk  Search this
Meredith, Burgess, 1907-1997  Search this
Mumford, Lewis, 1895-1990  Search this
Padro, Isabel  Search this
Poor, Anne, 1918-  Search this
Poor, Bessie Breuer  Search this
Poor, Eva  Search this
Poor, Josephine Graham  Search this
Poor, Josephine Lydia  Search this
Poor, Peter  Search this
Sargent, Elizabeth S.  Search this
Smith, David, 1906-1965  Search this
Steinbeck, John, 1902-1968  Search this
Watson, Ernest William, 1884-1969  Search this
Extent:
12.9 Linear feet
Type:
Collection descriptions
Archival materials
Motion pictures (visual works)
Diaries
Drawings
Sketchbooks
Date:
1873-2001
bulk 1904-1970
Summary:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.
Scope and Content Note:
The papers of Henry Varnum Poor measure 12.9 linear feet and date from 1873-2001, with the bulk from the period 1904-1970. Correspondence, writings, artwork, printed material and photographs document Poor's work as a painter, muralist, ceramic artist and potter, architect, designer, writer, war artist, educator and a co-founder of the Skowhegan School of Painting and Sculpture. Also found is extensive information about the design and construction of Crow House, his home in New City, New York, commissions for other architectural projects, and his personal life.

Henry Varnum Poor's correspondence documents his personal, family, and professional life. Correspondents include family and friends, among them George Biddle, Charles Burchfield, John Ciardi, Marion V. Dorn (who became his second wife), Philip Evergood, Lewis Mumford, John Steinbeck, David Smith, and Mrs. John Work (Alice) Garrett. Among other correspondents are galleries, museums, schools, organizations, fans, former students, and acquaintances from his military service and travels. Family correspondence consists of Henry's letters to his parents, letters to his parents written by his wife, and letters among other family members.

Among the writings by Henry Varnum Poor are manuscripts of his two published books, An Artist Sees Alaska and A Book of Pottery: From Mud to Immortality. as well as the text of "Painting is Being Talked to Death," published in the first issue of Reality: A Journal of Artists' Opinions, April 1953, and manuscripts of other articles. There are also film scripts, two journals, notes and notebooks, lists, speeches, and writings by others, including M. R. ("Muktuk") Marston's account of Poor rescuing an Eskimo, and Bessie Breuer Poor's recollections of The Montross Gallery.

Subject files include those on the Advisory Committee on Art, American Designers' Gallery, Inc., William Benton, Harold Dickson, Reality: A Journal of Artists' Opinions Sales, and War Posters. There are numerous administrative files for the Skowhegan School of Painting and Sculpture.

Artwork by Henry Varnum Poor consists mainly of loose drawings and sketches and 45 sketchbooks of studies for paintings, murals, and pottery. There is work done in France, 1918-1919, and while working as a war correspondent in Alaska in 1943. There are commissioned illustrations and some intended for his monograph, A Book of Pottery: From Mud to Immortality. Also found are a small number of watercolors and prints. Work by other artists consist of Anne Poor's drawings of her father's hands used for the Lincoln figure in The Land Grant Frescoes and interior views of Crow House by Ernest Watson.

Documentation of Poor's architectural projects consists of drawings and prints relating to houses designed and built for Jules Billing, MacDonald Deming, John Houseman, Burgess Meredith, Isabel Padro, and Elizabeth S. Sargent. Also found is similar material for the new studio Poor built in 1957 on the grounds of Crow House.

Miscellaneous records include family memorabilia and two motion picture films, Painting a True Fresco, and The Land Grant Murals at Pennsylvania State College.

Printed material includes articles about or mentioning Poor, some of his pottery reference books, family history, a catalog of kilns, and the program of a 1949 Pennsylvania State College theater production titled Poor Mr. Varnum. Exhibition catalogs and announcements survive for some of Poor's shows; catalogs of other artists' shows include one for Theodore Czebotar containing an introductory statement by Henry Varnum Poor. Also found is a copy of The Army at War: A Graphic Record by American Artists, for which Poor served as an advisor. There are reproductions of illustrations for An Artist Sees Alaska and Ethan Frome, and two Associated American Artists greeting cards reproducing work by Poor.

Photographs are of Henry Varnum Poor's architectural work, artwork, people, places, and miscellaneous subjects. This series also contains negatives, slides, and transparencies. Images of architectural work include exterior and interior views of many projects; Poor's home, Crow House, predominates. Photographs of artwork by Poor are of drawings, fresco and ceramic tile murals, paintings, pottery and ceramic art. People appearing in photographs include Henry Varnum Poor, family members, friends, clients, juries, students, and various groups. Among the individuals portrayed are Milton Caniff, Marcel Duchamp, Wharton Esherick, M. R. ("Muktuk") Marston, and Burgess Meredith. Among the family members are Bessie Breuer Poor, Marion Dorn Poor, Anne Poor, Eva Poor, Josephine Graham Poor, Josephine Lydia Poor, Peter Poor, and unidentified relatives. Photographs of places include many illustrating village life in Alaska that were taken by Poor during World War II. Other places recorded are French and California landscapes, and family homes in Kansas. Miscellaneous subjects are exhibition installation views, scenes of Kentucky farms, and a photograph of Poor's notes on glazes.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Materials, 1919-1987 (0.2 linear feet; Box 1, OV 18)

Series 2: Correspondence, 1873-1985 (1.5 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1944-1974 (0.6 linear feet; Boxes 2-3)

Series 4: Subject Files, 1928-1975 (0.8 linear feet; Box 3, OV 23)

Series 5: Artwork, circa 1890s-circa 1961 (3.5 linear feet; Boxes 4-6, 9-10, OV 19-22)

Series 6: Architectural Projects, circa 1940-1966 (0.7 linear feet; Box 6, OV 24-26, RD 14-17)

Series 7: Miscellaneous Records, 1882-1967 (Boxes 6, 11, FC 30-31; 0.5 linear ft.)

Series 8: Printed Material, 1881-2001 (1.2 linear feet; Boxes 6-7, 11, OV 27-29)

Series 9: Photographs, 1893-1984 (2.3 linear feet; Boxes 7-8, 12-13)
Biographical Note:
Henry Varnum Poor (1888-1970), best known as a potter, ceramic artist, and a co-founder of the Skowhegan School of Painting and Sculpture, was also an architect, painter, muralist, designer, educator, and writer who lived and worked in New City, New York.

A native of Chapman, Kansas, Henry Varnum Poor moved with his family to Kansas City when his grain merchant father became a member of the Kansas Board of Trade. From a young age he showed artistic talent and spent as much time as possible - including school hours - drawing. When a school supervisor suggested that Henry leave school to study at the Art Institute of Chicago, the family disagreed. Instead, he enrolled in the Kansas City Manual Training High School where he delighted in learning skills such as carpentry, forge work, and mechanical drawing. In 1905, he moved with his older brother and sister to Palo Alto, California and completed high school there. Because Poor was expected to join the family business, he enrolled at Stanford University as an economics major, but much to his father's disappointment and displeasure, soon left the economics department and became an art major.

Immediately after graduation in 1910, Poor and his major professor at Stanford, Arthur B. Clark, took a summer bicycling tour to look at art in London, France, Italy, and Holland. As Poor had saved enough money to remain in London after the summer was over, he enrolled in the Slade School of Art and also studied under Walter Sickert at the London County Council Night School. After seeing an exhibition of Post-Impressionism at the Grafton Galleries in London, Poor was so impressed that he went to Paris and enrolled in the Académie Julian. While in Paris, Poor met Clifford Addams, a former apprentice of Whistler; soon he was working in Addams' studio learning Whistler's palette and techniques.

In the fall of 1911, Poor returned to Stanford University's art department on a one-year teaching assignment. During that academic year, his first one-man show was held at the university's Old Studio gallery. He married Lena Wiltz and moved back to Kansas to manage the family farm and prepare for another exhibition. Their daughter, Josephine Lydia Poor, was born the following year. Poor returned to Stanford in September 1913 as assistant professor of graphic arts, remaining until the department closed three years later. During this period, Poor began to exhibit more frequently in group shows in other areas of the country, and had his first solo exhibition at a commercial gallery (Helgesen Gallery, San Francisco). In 1916, Poor joined the faculty of the San Francisco Art Association. He and his wife separated in 1917 and were divorced the following year. Poor began sharing his San Francisco studio with Marion Dorn.

During World War I, Poor was drafted into the U. S. Army, and in 1918 went to France with the 115th Regiment of Engineers. He spent his spare time drawing; soon officers were commissioning portraits, and Poor was appointed the regimental artist. He also served as an interpreter for his company. Discharged from the Army in early 1919, Poor spent the spring painting in Paris. He then returned to San Francisco and married Marion Dorn.

Once Poor realized that earning a living as a painter would be extremely difficult in California, he and his new wife moved to New York in the autumn of 1919. They were looking for a place to live when influential book and art dealer Mary Mowbray-Clarke of the Sunwise Turn Bookshop in Manhattan suggested New City in Rockland County, New York as good place for artists. In January of 1920, the Poors purchased property on South Mountain Road in New City. The skills he acquired at the Kansas City Manual Training High School were of immediate use as Poor designed and constructed "Crow House" with the assistance of a local teenager. Influenced by the farmhouses he had seen in France, it was made of local sandstone and featured steep gables, rough plaster, chestnut beams and floors, and incorporated many hand-crafted details. Poor designed and built most of their furniture, too. Before the end of the year, he and Marion were able to move into the house, though it remained a work in progress for many years. Additions were constructed. Over time, gardens were designed and planted, and outbuildings - a kiln and pottery, work room, garage, and new studio - appeared on the property.

In 1925, two years after his divorce from Marion Dorn, Poor married Bessie Freedman Breuer (1893-1975), an editor, short story writer, and novelist. Soon after, he adopted her young daughter, Anne (1918-2002), an artist who served as his assistant on many important mural commissions. Their son, Peter (b. 1926) became a television producer. Crow House remained in the family until its sale in 2006. In order to prevent its demolition, Crow House was then purchased by the neighboring town of Ramapo, New York in 2007.

Between 1935 and 1966 Poor designed and oversaw construction of a number of houses, several of them situated not far from Crow House on South Mountain Road. Poor's designs, noted for their simplicity, featured modern materials and incorporated his ceramic tiles. Among his important commissions were houses for Maxwell Anderson, Jules Billig, Milton Caniff, MacDonald Deming, and John Houseman.

Poor's first exhibition of paintings in New York City was at Kevorkian Galleries in 1920, and sales were so disappointing that he turned his attention to ceramics. His first pottery show, held at Bel Maison Gallery in Wanamaker's department store in 1921, was very successful. He quickly developed a wide reputation, participated in shows throughout the country, and won awards. He was a founder of the short-lived American Designers' Gallery, and the tile bathroom he showed at the group's first exposition was critically acclaimed. Poor was represented by Montross Gallery as both a painter and potter. When Montross Gallery closed upon its owner's death in 1932, Poor moved to the Frank K. M. Rehn Gallery.

Even though Poor's pottery and ceramic work was in the forefront, he continued to paint. His work was acquired by a number of museums, and the Limited Editions Club commissioned him to illustrate their republications of Ethan Frome, The Scarlet Letter, and The Call of the Wild.

Poor's first work in true fresco was shown in a 1932 mural exhibition at the Museum of Modern Art. Between 1935 and 1949 he was commissioned to produce several murals in fresco for Section of Fine Arts projects at the Department of Justice and the Department of the Interior, The Land Grant Frescoes at Pennsylvania State College, and a mural for the Louisville Courier-Journal. Ceramic tile mural commissions included: the Klingenstein Pavilion, Mt. Sinai Hospital, New York City; Travelers Insurance Co., Boston; the Fresno Post Office, California; and Hillson Memorial Gallery, Deerfield Academy, Deerfield, Mass.

As a member of the War Artists' Unit, Poor was a "war correspondent" with the rank of major in World War II, and for several months in 1943 was stationed in Alaska. An Artist Sees Alaska, drawing on Poor's observations and experiences, was published in 1945. A Book of Pottery: From Mud to Immortality, his second book, was published in 1958. It remains a standard text on the subject. While on the faculty of Columbia University in the 1950s, Poor and other artists opposed to the growing influence of Abstract Expressionism formed the Reality Group with Poor the head of its editorial committee. Their magazine, Reality: A Journal of Artists' Opinions, first appeared in 1953 featuring "Painting is Being Talked to Death" by Poor as its lead article. Two more issues were published in 1954 and 1955.

Along with Willard Cummings, Sidney Simon, and Charles Cuttler, in 1946 Henry Varnum Poor helped to establish the Skowhegan School of Painting and Sculpture in Skowhegan, Maine. He served as its first president. Poor and his daughter, Anne, were active members of the Board of Trustees and were instructors for many years. The summer of 1961 was Henry Varnum Poor's last as a full-time teacher, though he continued to spend summers at Skowhegan.

Henry Varnum Poor exhibited widely and received many awards, among them prizes at the Carnegie Institute, Syracuse Museum of Fine Arts, Virginia Museum of Fine Arts, Pennsylvania Academy of the Fine Arts, and the Architectural League of New York. Poor was appointed to the United States Commission of Fine Arts by President Roosevelt in 1941 and served a five year term. He was elected a member of the National Institute of Arts and Letters in 1943. The National Academy of Design named him an Associate Artist in 1954 and an Academician in 1963. He became a trustee of the American Craftsman's Council in 1956. The work of Henry Vernum Poor is represented in the permanent collections of many American museums including the Cleveland Museum of Art, Metropolitan Museum of Art, Brooklyn Museum, Addison Gallery of American Art, and Syracuse Museum of Fine Arts.

Henry Varnum Poor died at home in New City, New York, December 8, 1970.
Related Material:
An oral history interview with Henry Varnum Poor was conducted by Harlan Phillips for the Archives of American Art in 1964.
Provenance:
Gift of Henry Varnum Poor's son, Peter V. Poor, in 2007. A smaller portion was loaned to the Archives in 1973 by Anne Poor for microfilming and returned to the lender; this material was included in the 2007 gift.
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 audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
War artists  Search this
Educators -- New York (State) -- New York  Search this
Ceramicists -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Topic:
Architects -- New York (State) -- New York  Search this
World War, 1914-1918  Search this
Pottery -- New York (State) -- New York  Search this
Genre/Form:
Motion pictures (visual works)
Diaries
Drawings
Sketchbooks
Citation:
Henry Varnum Poor papers, 1873-2001, bulk 1904-1970. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.poorhenr
See more items in:
Henry Varnum Poor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96265d653-098f-4ccc-abed-0bc649c50516
EDAN-URL:
ead_collection:sova-aaa-poorhenr
Online Media:

Dorothy C. Miller papers, 1853-2013, bulk 1920-1996

Creator:
Miller, Dorothy Canning, 1904-2003  Search this
Subject:
Rockefeller, Nelson A. (Nelson Aldrich)  Search this
Cahill, Holger  Search this
Rothko, Mark  Search this
Coggeshall, Calvert  Search this
Hicks, Edward  Search this
Still, Clyfford  Search this
Calder, Alexander  Search this
Gorky, Arshile  Search this
Charlton, Maryette  Search this
Feininger, Lyonel  Search this
Pereira, I. Rice (Irene Rice)  Search this
Johns, Jasper  Search this
Horwitt, Will  Search this
DeFeo, Jay  Search this
Christo  Search this
Nevelson, Louise  Search this
Sheeler, Charles  Search this
Rauschenberg, Robert  Search this
Karpel, Bernard  Search this
Copley, Alfred L.  Search this
Davis, Stuart  Search this
Newman, Barnett  Search this
Sage, Kay  Search this
Byars, James Lee  Search this
Mather, Eleanore Price  Search this
Barr, Alfred H., Jr.  Search this
Feitelson, Lorser  Search this
O'Keeffe, Georgia  Search this
Hartigan, Grace  Search this
Noguchi, Isamu  Search this
Chryssa  Search this
Levy, Julien  Search this
Asher, Elise  Search this
Reinhardt, Ad  Search this
Scharf, William  Search this
Matisse, Pierre  Search this
Bontecou, Lee  Search this
Canady, John  Search this
Picasso, Pablo  Search this
Guggenheim, Peggy  Search this
Sterne, Hedda  Search this
World Trade Center (New York, N.Y.)  Search this
Federal Art Project  Search this
Betty Parsons Gallery  Search this
Rockefeller University  Search this
Smith College. Museum of Art  Search this
Port Authority of New York and New Jersey  Search this
Chase Manhattan Bank  Search this
Municipal Art Exhibition (1st : 1934 : New York, N.Y.)  Search this
Mark Rothko Foundation  Search this
Smith College  Search this
Hirshhorn Museum and Sculpture Garden  Search this
PepsiCo, Inc.  Search this
Type:
Photographs
Sketches
Christmas cards
Drawings
Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Topic:
Art museum curators -- New York (State) -- New York  Search this
Corporations -- Private collections  Search this
Art -- Private collections  Search this
Folk art  Search this
Women museum curators  Search this
Women art historians  Search this
Theme:
Women  Search this
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)6469
(DSI-AAA_SIRISBib)215653
AAA_collcode_milldoro
Theme:
Women
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215653
Online Media:

Dorothy C. Miller papers

Creator:
Miller, Dorothy Canning, 1904-2003  Search this
Names:
Betty Parsons Gallery  Search this
Chase Manhattan Bank -- Art collections  Search this
Federal Art Project  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Mark Rothko Foundation  Search this
Municipal Art Exhibition (1st : 1934 : New York, N.Y.)  Search this
PepsiCo, Inc.  Search this
Port Authority of New York and New Jersey -- Art collections  Search this
Rockefeller University  Search this
Smith College -- Students  Search this
Smith College. Museum of Art  Search this
World Trade Center (New York, N.Y.) -- Art collections  Search this
Asher, Elise, 1914-  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Bontecou, Lee, 1931-  Search this
Byars, James Lee  Search this
Cahill, Holger, 1887-1960  Search this
Calder, Alexander, 1898-1976  Search this
Canady, John  Search this
Charlton, Maryette  Search this
Christo, 1935-  Search this
Chryssa, 1933-  Search this
Coggeshall, Calvert, 1907-1990  Search this
Copley, Alfred L.  Search this
Davis, Stuart, 1892-1964  Search this
DeFeo, Jay, 1929-1989  Search this
Feininger, Lyonel, 1871-1956  Search this
Feitelson, Lorser, 1898-1978  Search this
Gorky, Arshile, 1904-1948  Search this
Guggenheim, Peggy, 1898-1979  Search this
Hartigan, Grace  Search this
Hicks, Edward, 1780-1849  Search this
Horwitt, Will  Search this
Johns, Jasper, 1930-  Search this
Karpel, Bernard, 1911-1986  Search this
Levy, Julien  Search this
Mather, Eleanore Price, 1910-  Search this
Matisse, Pierre, 1900-1989  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Noguchi, Isamu, 1904-1988  Search this
O'Keeffe, Georgia, 1887-1986  Search this
Pereira, I. Rice (Irene Rice), 1902-1971  Search this
Picasso, Pablo, 1881-1973  Search this
Rauschenberg, Robert, 1925-2008  Search this
Reinhardt, Ad, 1913-1967  Search this
Rockefeller, Nelson A. (Nelson Aldrich), 1908-1979 -- Art collections  Search this
Rothko, Mark, 1903-1970  Search this
Sage, Kay  Search this
Scharf, William, 1927-  Search this
Sheeler, Charles, 1883-1965  Search this
Sterne, Hedda, 1910-2011  Search this
Still, Clyfford, 1904-1980  Search this
Extent:
34.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Christmas cards
Drawings
Date:
1853-2013
bulk 1920-1996
Summary:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's private art consulting work outside of her curatorial work at the Museum of Modern Art in New York City. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, the World Trade Center, and other miscellaneous corporate and private clients. Miller's work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files of her husband Holger Cahill about his work as Director of the Federal Art Project. There is a scattered documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Also found is Dorothy Miller's collection of artists' Christmas cards and photographs of Miller and others. An addition to the papers includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number professional files are included, the majority of the addition relates to her personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection.
Scope and Content Note:
The papers of contemporary and folk art curator, historian, and consultant Dorothy C. Miller measure 34.6 linear feet and date from 1853-2013, with the bulk of the material dating from 1920 to 1996. The papers primarily concern Miller's art consulting work outside of her curatorial work at the Museum of Modern Art in New York city. Found are scattered biographical materials, extensive correspondence and subject files, and project files for her art consulting work for the Rockefeller family, Rockefeller University, Chase Manhattan Bank, the Port Authority of New York and New Jersey, and other miscellaneous corporate and private clients. Her work as a trustee and committee member of various public and private boards and commissions is also represented here. Additionally, the papers contain Miller's research files on Edward Hicks and folk art, and a small number of files related to Miller's husband Holger Cahill and his work as Director of the Federal Art Project. There is important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center. Artwork includes scattered sketches and drawings enclosed with correspondence and original Christmas cards sent to Miller by various artists. Photographs of Miller date from 1926 - circa 1950.

Scattered biographical material mostly concerns Miller's education at Smith College and awards and honorary degrees that she received. Extensive correspondence and subject files document her professional and personal relationships with family, friends, colleagues, museums, art dealers and artists, as well as her research interests. Individual files may contain a mix of correspondence with, as well as about, the person or subject, compiled research documents, printed materials, and scattered photographs. Files are found for Lewin Alcopley, Alfred Barr, Betty Parsons Gallery, Cahill family members, Lee Bontecou, James Byars, Holger Cahill, Alexander Calder, Christo, Chryssa, Calvert Coggeshall, John Canaday, Maryette Charlton, Stuart Davis, Jay DeFeo, Lorser Feitelson, Arshile Gorky, Peggy Guggenheim, Grace Hartigan, Will Horwitt, Jasper Johns, Julien Levy, Pierre Matisse, Louise Nevelson, Barnett Newman, Isamu Nauchi, Georgia O'Keeffe, Pablo Picasso, Robert Rauschenberg, Ad Reinhardt, Kay Sage, Charles Sheeler, Hedda Sterne, travel, Clyfford Still, William Scharf, among many others.

Detailed records of Miller's art consulting and advisory work for the Rockefeller family include correspondence with Nelson A. Rockefeller and David Rockefeller about building their personal collections of contemporary and folk art, meeting notes and minutes, research notes and writings, and printed materials. The largest group of records concerns the writing and publication of The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. Miller's curatorial work for David Rockefeller and the Rockefeller University's Abby Aldrich Rockefeller Hall art collection is documented in Series 4 through curatorial files, correspondence, printed materials, photographs and slides, artists files, and design records.

Series 5 contains files relating to Miller's work as the first art consutant to the Chase Manhattan Bank and the building of the corporation's extensive collection of contemporary art. There is a draft of Miller's text for the bank's published catalog, Art At Work: Chase Manhattan Bank Collection. A smaller set of records is found in Series 6 documenting Miller's work on the Art Committee of the Port Authority of New York and New Jersey, including files about selecting artwork for the World Trade Center during the early 1970s. Files concerning Miller's advisory work with additional public and private clients, boards, and commissions are arranged in Series 7 and 8 and concern the Amstar Corporation, Fidelity International Bank, First National Bank of Tampa, First National City Bank, Inmont Corporation, Pepsico, United Mutual Savings Bank, the Empire State Plaza Art Commission, the Hancock Shaker Village, the Hirshhorn Museum and Sculpture Garden, the Mark Rothko Foundation, the Museum of American Folk Art, and the Smith College Museum of Art.

Miller's papers include a small group of files relating to the WPA Federal Art Project (FAP)created by her husband Holger Cahill when he was director of the FAP, Holger Cahill. A small series is devoted to Miller's work with Eleanore Price Mather researching and writing Edward Hicks: His Peaceable Kingdom and Other Paintings. A series of general research files contain miscellaneous research notes and photographs related to Miller's interests in early American art and folk art. Series 12 contains important documentation of Miller's early curatorial work with Holger Cahill on the First Municipal Art Exhibition (1934) held at the RCA Building in Rockefeller Center.

Works of art are primarily in the form of Christmas cards sent to Miller by various artists including Elise Asher, Lyonel Feininger, Bernard Karpel, and Irene Rice Pereira. A small group of photographs includes photographs of Miller from 1926-circa 1950 and a few photographs of others.

The addition includes biographical material; family papers; correspondence; professional files; art collection and client files; printed material; and photographic material. While a small number of professional files are found here, the majority of material relates to Miller's personal life, including correspondence with her husband Holger Cahill, and files pertaining to her personal art collection. Scattered correspondence, inventories, research, and notes created by curator and donor of the papers, Wendy Jeffers, are found throughout the collection. These materials date from the 1980s-2000s.
Arrangement:
The collection is arranged as 15 series:

Missing Title

Series 1: Biographical Material, 1917-1986 (Box 1; 0.3 linear ft.)

Series 2: Correspondence and Subject Files, circa 1912-1992 (Boxes 1-8, OV 27; 7.2 linear ft.)

Series 3: Rockefeller Family Art Collections, circa 1949-1985 (Boxes 8-12, 25; 3.9 linear ft.)

Series 4: Rockefeller University Collection, 1923-1984 (Boxes 12-13, OV 27; 1.0 linear ft.)

Series 5: Chase Manhattan Bank Collection, 1959-circa 1985 (Boxes 13-14, 26; 1.4 linear ft.)

Series 6: Port Authority of New York and New Jersey Art Committee, circa 1965-1987 (Boxes 14-15, OV 27; 0.8 linear ft.)

Series 7: Other Corporate and Private Clients, 1968-1984 (Boxes 15-16; 1.3 linear ft.)

Series 8: Other Boards, Committees and Commissions, 1925, 1949-1985 (Boxes 16-20; 3.6 linear ft.)

Series 9: Works Project Administration Federal Art Project Files, 1935-1979 (Box 20, OV 27; 0.5 linear ft.)

Series 10: Edward Hicks Catalog, 1934-1984 (Boxes 20-22; 1.5 linear ft.)

Series 11: Research Files, 1930s-1980 (Boxes 22-23; 0.8 linear ft.)

Series 12: Exhibition Files, 1932-1986 (Box 23; 0.6 linear ft.)

Series 13: Works of Art, circa 1924-circa 1982 (Boxes 23-25; 1.5 linear ft.)

Series 14: Photographs, 1926-circa 1970s (Boxes 24-25; 0.3 linear ft.)

Series 15: Addition to the Dorothy C. Miller Papers, 1853-2003, bulk 1920-1996 (Boxes 28-38, OVs 39-41; 9.9 linear ft.)
Biographical Note:
Dorothy Canning Miller (1904-2003) worked in New York City as a highly influential curator of contemporary and folk art at the Museum of Modern Art and as the first curator of the museum. Later, she was the primary art consultant for Nelson A. Rockefeller, the Rockefeller family, Rockefeller University, Chase Manhattan Bank, and the Port Authority of and New Jersey. Dorothy Miller was also married to Holger Cahill, director of the WPA Federal Art Project.

Dorothy C. Miller was born in Hopedale, Massachusetts in 1904 and received her Bachelor of Arts from Smith College in 1925. She was first introduced to modern art through classes at the Newark Museum taught by John Cotton Dana and Holger Cahill. Miller joined the curatorial staff of the Newark Museum in 1926. The museum was one of the first to organize exhibitions of American folk art, American Primitives (1930-1931) and American Folk Sculpture (1931-1932). Miller worked with Cahill and others on the exhibition and developed a life-long interest in folk art.

After four years at the Newark Museum, Miller moved to New York city, hoping to get involved with the newly opened Museum of Modern Art (MoMA), and, likely, to be with Holger Cahill, with whom she lived with on 8th Street prior to their marriage in 1938. Between 1930 and 1932 she took odd jobs and worked with Mrs. Henry Lang cataloging, researching and installing Lang's collection of Native American art Lang donated to the Montclair Art Museum. At the same time, Holger Cahill was serving as Acting Director of the Museum of Modern Art during an absence of Director Alfred H. Barr. In 1932, Cahill asked Miller to assist him with curating the American Painting and Sculpture, 1862-1932 exhibition at MoMA, and together they also curated the First Municipal Art Exhibition, 1934 at the Rockefeller Center.

In 1934, Barr hired Miller as his assistant and one year later appointed her as MoMA's first curator. Miller spent the next 35 years organizing many of this country's most important exhibitions of contemporary art and building personal relationships with new artists and photographers, as well as the collections of MoMA. Miller retired from MOMA in 1969 and focused more on her art consulting work begun in the late 1950s.

Dorothy Miller's most notable client was Nelson A. Rockefeller. She assisted and advised Rockefeller as he acquired a vast personal collection of modern art - some of which was later donated to MoMA. Just prior to her retirement, Miller organized a large exhibition of Rockefeller's collection. The exhibition catalog written by Miller was the basis for the book she worked on with Rockefeller up until and following his death in 1979, ultimately published as The Nelson A. Rockefeller Collection: Masterpieces of Modern Art. In the preface, Rockefeller credited Miller with being one of the four people to whom he was indebted "for the understanding and endless joy I have found in the collecting of modern art in all forms."

Miller also served as the primary art consultant for projects to furnish federal spaces, including Henry Kissinger's State Department office suite, and the official Vice-Presidential residence at the Admiral's House in Washington D.C.

In 1959 Miller was invited to join the art collection committee of the Chase Manhattan Bank and served on the committee until the mid-1980s, contributing her expertise to the development of one of this country's oldest and largest corporate collections of modern and contemporary art.

Miller was also an advisor to other members of the Rockefeller family, including David Rockefeller, and assisted with developing the art collections of Rockefeller Institute/University. From 1960 through the late 1980s Miller was a member of the art committee for the Port Authority of New York and New Jersey (PANJY) and was responsible for selecting much of the artwork for the World Trade Center in the 1970s. She served on numerous boards and commissions, including the Hancock Shaker Village, the Smithsonian Institution's Hirshhorn Museum and Sculpture Garden, the Empire State Plaza in Albany, Smith College Museum of Art, and the Museum of American Folk Art. She also became a member of the Mark Rothko Foundation Board of Directors after the litigation following Rothko's death between Rothko's executors and his daughter.

In the mid-1970s Miller assisted the Whitney Museum of American with planning an exhibition and supporting catalog of the work of folk artist Edward Hicks. Although the exhibition and catalog were only partially realized in 1980, Miller and Eleanore Price Mather compiled and published a book on Hicks, Edward Hicks: His Peaceable Kingdoms and Other Paintings, published in 1983.

In 1982-1983 Miller received the Art Dealers Association Special Award, an honorary degree from Williams College, and the Skowhegan School of Painting and Sculpture governor's award. In 1984 she was named honorary trustee of the Museum of Modern Art. In 1985 the Smith College Museum of Art honored her important contributions to museum connoisseurship with the exhibition Dorothy C. Miller: With An Eye to American Art.

Dorothy Miller died in 2003 at the age of 99 at her home in Greenwich, New York.
Related Material:
The Archives of American Art holds two oral history interviews with Dorothy C. Miller. The first was conducted by Paul Cummings between May 26, 1970 and September 28, 1971, and details Miller's life from childhood up to, and including, her years at the Museum of Modern Art. The second was conducted by Avis Berman on May 14, 1981 and covers Miller's relationships with Mark Rothko and Clyfford Still. Also found among the holdings of the Archives are the papers of Holger Cahill, Dorothy Miller's husband and colleague.

The Museum of Modern Art Achives holds Dorothy Miller's papers related to her curatorial work at the museum.
Provenance:
The collection was donated by Dorothy C. Miller via Wendy Jeffers between 1986 and 1997, and Reid White, Executor of Miller's estate, in 2004. Two subsequent additions were donated by Wendy Jeffers in 2014 and 2015.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York  Search this
Topic:
Art museum curators -- New York (State) -- New York  Search this
Corporations -- Private collections  Search this
Art -- Private collections  Search this
Folk art  Search this
Women museum curators  Search this
Women art historians  Search this
Genre/Form:
Photographs
Sketches
Christmas cards
Drawings
Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.milldoro
See more items in:
Dorothy C. Miller papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f1ed6cb6-f194-4b76-a8dd-fce3352c09b8
EDAN-URL:
ead_collection:sova-aaa-milldoro
Online Media:

Oral history interview with Rosanne Somerson, 2006 August 7 and 2007 June 22

Interviewee:
Somerson, Rosanne, 1954-  Search this
Interviewer:
Michie, Thomas S.  Search this
Subject:
Abramson, Ron  Search this
Callahan, Harry M.  Search this
Capanigro, Paul  Search this
Cooke, Ned  Search this
Dunnigan, John  Search this
Fairbanks, Jonathan L.  Search this
Follen, Eck  Search this
Frid, Tage  Search this
Jackson, Dan  Search this
Joseph, Peter T. (Peter Thomas)  Search this
Kagan, Richard  Search this
Keck, Hardu  Search this
Kranov, James  Search this
Maruyama, Wendy  Search this
Mattia, Alphonse  Search this
Melanson, Gracie  Search this
Osgood, Jere  Search this
Sfirri, Mark  Search this
Siskind, Aaron  Search this
Swanson, Charlie  Search this
Szasz, Merlin  Search this
White, Leroy  Search this
Wolf, Hans  Search this
Haystack Mountain School of Crafts  Search this
Peters Valley (Craft center)  Search this
Rhode Island School of Design  Search this
Richard Kagan Gallery  Search this
Snyderman Gallery  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Type:
Interviews
Sound recordings
Citation:
Quotes and excerpts must be cited as follows: Oral history interview with Rosanne Somerson, 2006 August 7 and 2007 June 22. Archives of American Art, Smithsonian Institution.
Topic:
Fine woodworking  Search this
Decorative arts  Search this
Educators -- Rhode Island -- Interviews  Search this
Photography  Search this
Women artists  Search this
Women designers  Search this
Women educators  Search this
Furniture design  Search this
Theme:
Craft  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)13618
(DSI-AAA_SIRISBib)271125
AAA_collcode_somers06
Theme:
Craft
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_271125
Online Media:

Robert Richenburg papers

Creator:
Richenburg, Robert  Search this
Names:
Club (New York, N.Y.)  Search this
Ozenfant School of Fine Arts -- Students  Search this
Pratt Institute  Search this
Solomon R. Guggenheim Museum  Search this
Tibor de Nagy Gallery  Search this
United States. Veterans Administration  Search this
Amgott, Madeline  Search this
Ashton, Dore  Search this
Cavallon, Giorgio, 1904-1989  Search this
Cherry, Herman  Search this
Geist, Sidney  Search this
Grad, Bonnie Lee, 1949-  Search this
Hofmann, Hans, 1880-1966  Search this
Kline, Franz, 1910-1962  Search this
Lassaw, Ernestine  Search this
Lassaw, Ibram, 1913-2003  Search this
Matter, Mercedes  Search this
Moulton, Lynne  Search this
Ortiz, Rafael Montanez  Search this
Pavia, Philip, 1915-2005  Search this
Rebay, Hilla, 1890-1967  Search this
Slivka, David, 1913-  Search this
Extent:
5.3 Linear feet
4.32 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Date:
circa 1910s-2008
Summary:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, sound and video recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.
Scope and Content Note:
The Robert Richenburg papers, circa 1910s-2008, measure 5.3 linear feet and 4.32 GB. Biographical material, correspondence, subject files, writings, audio/visual recordings, printed material, and photographs document the professional career and personal life of the educator and New York School painter and sculptor best known for his Abstract Expressionist paintings.

Biographical material includes educational records from high school through his studies at the Ozenfant School of Fine Arts using G.I. benefits. Birth, marriage,and death certificates are also found, along with Richenburg family memorabilia. There is a digital video recording of Robert Richenburg's memorial service.

Correspondence consists mostly of family letters, including some illustrated letters and many handmade cards featuring original artwork. Condolence letters addressed to Marggy Kerr are from friends, relatives, colleagues, neighbors, and acquaintances.

Subject files contain various combinations of correspondence, printed material, photographs, writings and notes relating to Richenburg's professional career and personal life. They document exhibitions, gallery representation, gifts of art work to museums and individuals, memberships, teaching activities, former students, friendships, and other aspects of his life. Files of significant interest are: The Club, Tina Dicky and Madeline Amgott, Former Students (particularly Raphael Montanez Ortiz), Bonnie L. Grad and Lynne Moulton, Hans Hofmann, Ibram Lassaw, Philip Pavia, Pratt Institute, Hilla Rebay and the Museum of Non-Objective Painting, Tibor De Nagy Gallery, and Veterans Administration.

Writings by Richenburg consist of notes, reviews, artist's statements, and the text of a speech. Also included are quotations compiled over the years by Marggy Kerr of Richenburg's comments on art and life. Among the writings by others are student papers, reviews, and poems.

Sound and visual recordings include interviews with Robert Richenburg, often conducted as research for exhibitions. Videocassettes document events such as panel discussions, and artist gatherings; a few were produced in conjunction with museum exhibitions. Also found are videotapes by video artist Raphael Montanez Ortiz, Richenburg's friend and former student.

Printed material includes items that are specifically about Robert Richenburg as well as items that incidentally mention him. The majority consist of exhibition catalogs and announcements.

Photographs show art work by Richenburg, exhibition openings and other events, and a variety of people and places. Among the events recorded is the "Artists Roundtable on Art of the '50s." Moderated by Dore Ashton, the panel included Herman Cherry, Sidney Geist, Ibram Lassaw, Mercedes Matter, and David Slivka. There are photographs of Richenburg's boyhood home in Roslindale, MA, and his house in Ithaca, NY. He is pictured with others including family members, dealers, and curators. Of particular interest are photographs of Richenburg in Provincetown, MA, 1952-1953, with friends, including: Giorgio Cavallon, Franz Kline, Ibram and Ernestine Lassaw, and Philip and Marcia Pavia. World War II photographs consist of images of art work (not by Richenburg), Richenburg and other individuals taken in France and England; a number include views of Shrivenham American University.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, circa 1910s-2006 (Box 1; 0.1 linear ft., ER01; 1.66 GB)

Series 2: Correspondence, 1940-2007 (Box 1; 0.4 linear ft.)

Series 3: Subject Files, 1942-2008 (Boxes 1-3, OV 7; 2.25 linear ft.)

Series 4: Writings, circa 1950-2006 (Box 3; 0.1 linear ft.)

Series 5: Sound and Video Recordings, 1996-2006 (Boxes 3-4; 0.75 linear ft., ER02; 2.66 GB)

Series 6: Printed Material, 1947-2008 (Boxes 4-5; 1.25 linear ft.)

Series 7: Photographs, circa 1923-2006 (Boxes 5-6; 0.45 linear ft.)
Biographical Note:
Robert Bartlett Richenburg (1917-2006) was a painter and educator in New York City, Ithaca, New York, and East Hampton, New York.

At age 13, Bob Richenburg's artistic talent earned him a place in a daily class for Boston Public School students at the Museum of Fine Arts. Most classes focused on copying; of far greater benefit to the young art student was the opportunity to wander through the museum and look at art nearly every day of his high school career.

Richenburg's father was an architect who also ran a stained glass lampshade business; neither endeavor was profitable, so the family endured very hard times during the Depression. To help support the family, after school and on weekends, Bob delivered ice and coal with an older brother, a job he continued while attending night school courses in liberal arts at Boston University. He studied at George Washington University in Washington, DC, 1937-1939, often working as many as four part-time jobs to cover tuition and living expenses; during summers and school vacations, he returned to Boston to work with his brother. Due to his difficult financial situation, Richenburg's college career ended before he earned a degree.

After learning that the Corcoran School of Art charged no tuition, Richenburg returned to Washington in 1940 to study painting and sculpture. Although uninformed about the art world, he realized that New York was a better place for an aspiring artist. In 1941, he began studying with George Grosz and Reginald Marsh at the Art Students League. On his own, he studied materials and techniques and copied paintings at the Metropolitan Museum Art.

With war looming and the near certainty of being drafted, Robert Richenburg and Libby Chic Peltyn (always called Chic) married in November 1942; two weeks later, he entered the army. Richenburg spent three years in England and France as a combat engineer, transporting explosives and instructing troops in the demolition of mines and booby traps. In England, he managed a photo lab and taught drawing in the fine arts section of Shrivenham American University, a school run by the U. S. Army.

Once discharged, Richenburg returned to New York and took advantage of the G.I. Bill to continue studying painting (and for the subsistence allowance that provided modest support for his family - son Ronald was born in 1947). Richenburg studied at the Ozenfant School, 1947-1949, where he developed a life-long friendship with fellow student Ibram Lassaw.

He continued his art education with Hans Hofmann in New York and Provincetown, 1949-1951. During this period, Richenburg taught drawing, painting, and art history classes sponsored by the Extension Division of City College of New York and held at venues such as Brooklyn's Central YMCA, and branches of the New York Public Library. Richenburg quickly discovered that he liked teaching and enjoyed the students.

In 1951, Richenburg joined the Pratt Institute faculty and taught studio courses at night; soon, he was teaching full time during the day. Richenburg began to achieve recognition as the youngest of the Abstract Expressionists and by the early 1960s his career was well established. Tibor De Nagy Gallery in New York and Dwan Gallery in California represented Richenburg, and a number of paintings were sold to museums and private collectors. As Richenburg experimented with new ideas and materials, his work began changing. He was a popular instructor at Pratt with several promising students who also began experimenting. In 1964, when the unorthodox work of one student in particular caught the attention of Pratt administrators, Richenburg was asked to change his approach to teaching. This roused student protests, and press coverage focused on the specific situation and academic freedom in general. He chose to resign rather than alter his teaching philosophy.

Richenburg secured a position at Cornell University. The confluence of his absence from New York City and the ascendance of Pop Art were damaging, and his career was derailed when De Nagy and Dwan dropped him from their rosters a few years later. After it was clear that he would not secure tenure at Cornell, Richenburg returned to New York in 1967 and began teaching at Hunter College. Daily life in New York was harder than he remembered and, for him, the City had lost its allure.

When offered the chairmanship of the Ithaca College art department, the Richenburgs were delighted to return to tranquil Ithaca, New York. Chic died in 1977, and Bob remained at Ithaca College until retiring in 1983. In addition full-time teaching and handling administrative activities as department chairman, Richenburg made time to work in his studio practically every day. He created a large body of work in a wide variety of media and styles, moving on to new ideas and experiments after exhausting his possibilities or interest.

Beginning in 1949 with a loan exhibition organized by The Museum of Non-Objective Art, Richenburg participated in a wide range of group shows. His first solo exhibition was held in 1953 at the Hendler Gallery, Philadelphia. Over the years, he enjoyed other solo exhibitions at venues such as: David Findlay Jr. Fine Art, Dwan Gallery, Hansa Gallery, Ithaca College Museum of Art, McCormick Gallery, Rose Art Museum (Brandeis University), Santa Barbara Museum of Art, Sidney Mishkin Gallery (Baruch College), and Tibor De Nagy Gallery. In the 1960s and 1970s, Richenburg's work was seldom shown, but from the mid-1980s onward there has been renewed interest.

Richenburg's work is represented in the permanent collections of many museums including Hirshhorn Museum, Museum of Modern Art, Philadelphia Museum of Art, and Whitney Museum of American Art. In addition, his work was acquired by many highly regarded private collectors including Larry Aldrich, Walter P. Chrysler, Jr., Joseph H. Hirshhorn, J. Patrick Lannon, and James A. Michener.

Robert Richenburg and Margaret (Marggy) Kerr, a painter and sculptor living in Ithaca, were married in 1980. Ms. Kerr is known for "brick rugs" made from cut bricks forming designs for site specific sculpture and garden walks. Richenburg became close to his stepfamily of three children, Marggy's grandchildren and her mother. After he retired from Ithaca College, Bob and Marggy moved to Springs in East Hampton, New York.

Although Richenburg suffered from Parkinson's disease during the last six years of his life, he continued to work in his home studio until physically unable to produce art. He died on October 10, 2006.
Related Material:
An oral history interview of Robert Richenburg was conducted by Dorothy Seckler for the Archives of American Art, circa 1968.
Provenance:
Donated in 2008 by Margaret Kerr, widow of Robert Richenburg, on behalf of herself and his son Ronald Richenburg.
Restrictions:
Use of original material requires an appointment. Use of audiovisual material with no duplicate access copy requires advance notice.
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.
Topic:
Educators -- New York (State) -- East Hampton  Search this
Abstract expressionism  Search this
Art -- Study and teaching  Search this
Sculptors -- New York (State) -- East Hampton  Search this
New York school of art  Search this
Painters -- New York (State) -- East Hampton  Search this
Genre/Form:
Illustrated letters
Sound recordings
Greeting cards
Video recordings
Photographs
Interviews
Citation:
Robert Richenburg papers, circa 1910s-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.richrobe
See more items in:
Robert Richenburg papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93e889f0b-1cd4-42d6-906f-68bace36808d
EDAN-URL:
ead_collection:sova-aaa-richrobe
Online Media:

National Arts Club records

Creator:
National Arts Club (New York, N.Y.)  Search this
Names:
Arts Realty  Search this
De Kay, Charles  Search this
Extent:
32.1 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1898-1960
Summary:
The records of the National Arts Club measure 32.1 linear feet and date from 1898 to 1960. The collection documents the founding of the club, and it's governance, administration, exhibitions, and social activities
Scope and Content Note:
Records of the National Arts Club, spanning the period 1898 to 1960, document the founding of the organization, and its governance, administration, finances, exhibitions, and social activities. There are large gaps in the records and many of those surviving are incomplete, which can be explained by a 1932 resolution of the Board of Governors that "old files and letters and bills in the storeroom prior to 1922 may be destroyed at the discretion of the Secretary and Treasurer."

Minutes and reports of the Board of Governors and Executive Committee are fairly complete through 1949, but sparse thereafter. Records do not exist for all standing and special committees, and those remaining tend to be concentrated in the early twentieth century.

Correspondence of the officers, for the most part, is routine and relates to administrative matters. Financial records cover the period 1917 to 1950, with a large number of gaps.

A small number of records of the Arts Realty Co. (later known as 15 Gramercy Park, Inc.) are extant. These include lists of stockholders, correspondence concerning mortgage bonds, and minutes.

Membership records, arranged alphabetically, are available for the years 1931 to 1959, and there are rosters arranged by membership category, 1940-1952; in addition, printed membership lists were issued circa 1900-1951.

More than four hundred exhibitions are known to have been held in the galleries of the National Arts Club between 1899 and 1960. Catalogs for 124 National Arts Club exhibitions are available at the Archives of American Art; 69 titles are to be found among the Club's records and an additional 55 were microfilmed previously as parts of other collections. Other exhibition documentation includes printed matter such as invitations, entry blanks, publicity, and photographs (see Appendix A). For some exhibitions, supporting documentation such as correspondence with exhibitors and collectors, sales and consignment records, and shipping receipts have survived. These files are mainly confined to Books of the Year exhibitions, Arts and Crafts/Decorative Arts exhibitions, and a smaller number of exhibitions of Living American Etchers, 1928-1957.

General social events, activities sponsored by Arts Club committees, and special commemorative occasions are documented by invitations, programs, publicity, calendars of events, and photographs. The majority of this material is contained in seventeen scrapbooks, 1898-1940. Programs of the Men's Open Table, 1915-1950, are particularly well documented by the Chairman's correspondence and three volumes containing meeting notices with signatures of members in attendance.

In addition to printed matter relating to exhibitions and events, scrapbooks, 1898-1940, contain general publicity, clippings concerning members, and samples of National Arts Club printed matter such as form letters to the general membership, brochures, ballots, house rules, published membership lists, year books, and the like. Loose printed matter augments that preserved in the scrapbooks. These sources combined provide a fairly complete set of the Bulletin, but the number of year books is small, and there are catalogs of only slightly more than a third of the exhibitions identified.

Photographs, in addition to those recording exhibitions and events, include portraits of governors, officers, distinguished visitors, speakers, and performers; views of Gramercy Park and the interior and exterior of the clubhouse; and works of art in the permanent collection.

Miscellaneous material includes information on the National Arts Club's first home on West 34th Street, and the Tilden Mansion, its current clubhouse on Gramercy Park; histories of the organization; unpublished speeches presented at Club occasions; and copies of legal documents, including the Club's charter and act of incorporation.

See Appendix A for an annotated list of National Arts Club exhibitions, 1899-1960
Arrangement:
The records are arranged into the following series:

Missing Title

Series 1: Board of Governors, 1898-1960, undated

Series 2: Administration, 1898-1960, undated

Series 3: Financial Records, 1917-1952

Series 4: Membership, circa 1900-1962

Series 5: Arts Realty Co., 1909-1913, 1945-1956, undated

Series 6: Miscellaneous, 1890-1961, undated

Series 7: Photographs, 1899-1957, undated

Series 8: Printed Matter, 1893-1960, undated

Series 9: Scrapbooks, 1898-1940
Historical Note:
The National Arts Club was founded by Charles de Kay, literary and art critic for the New York Times who believed there was a need for a club uniting all of the arts. In March of 1898, de Kay called together a number of civic leaders and men prominent in the art world who supported the idea, elected the first officers and incorporated the Club in 1899.

As stated in a circular issued by the Club, its specified purposes were: to promote the mutual acquaintance of art lovers and art workers in the United States; to stimulate and guide toward practical and artistic expression the artistic sense of the American people; to maintain in the City of New York a Club House...for social purposes in connection with the arts; to provide proper exhibition facilities for such lines of art, especially applied and industrial art, as shall not be otherwise adequately provided for in the same City; and to encourage the publication and circulation of news, suggestions and discussions relating to the fine arts.

During its initial months, the National Arts Club operated from a temporary office at 156 Fifth Avenue. In the search for a permanent site, considerable care was taken to select an auspicious location and accommodations, and in 1899 the first clubhouse was opened at 37 West 34th Street in leased quarters renovated expressly for the Club. Within a year, the gallery and restaurant required additional space, and there was a desire to provide overnight quarters for members visiting from out of town. In 1901 the Club created a corporation, Arts Realty Co., which issued shares to members and other investors for the purpose of raising funds to purchase the adjacent property (39 West 34th Street). This end was accomplished, and when it was decided to move the Club to another location, proceeds from the sale of the lease on 37 West 34th Street and the lot next door, augmented by additional funds subscribed by members, enabled Arts Realty Co. to acquire the Tilden Mansion at 15 Gramercy Park in 1905. Construction was begun immediately on a connecting studio tower to the rear (119-121 East 19th Street), designed by architect and Club President George B. Post. Upon completion, the Club bought the property from Arts Realty Co., issuing both First and Second Mortgage Bonds to individual subscribers. The Gramercy Park property has been occupied by the Club since 1906.

A show of American gold and silver work in October 1899 was the first exhibition held at the National Arts Club. Decorative arts, crafts, and industrial arts figured prominently in early exhibitions, as did designs for civic improvements. The monthly exhibition schedule emphasized contemporary American art, but also included some historical shows. Members of the public were admitted without charge to the galleries, where they could view such innovative and important exhibitions as Pictorial Photographs presented by the Photo-Secession (1902) and a group exhibition featuring the works of Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (1904). After about 1907, exhibitions grew more conservative, probably reflecting the personal tastes of Art Committee members rather than a formal opposition of the Club to nonrepresentational art. Increasingly, the exhibition schedule was filled by shows of members' work, the Club's permanent collection (mainly works by artist members, usually given in payment for life membership), the Annual Arts and Crafts exhibitions, Books of the Year exhibitions, and shows organized by various art societies.

In addition to exhibitions, the National Arts Club regularly featured a variety of cultural programs such as concerts, lectures, and dramatic presentations for members and guests. Parties, dinner, dances, and other social activities drew members to the Club, too. During its first years, some artist members expressed dissatisfaction with the high priority given social functions; by 1905, J. Carroll Beckwith, Walter Shirlaw, and Stanford White were among those who had resigned for this reason.

Within the National Arts Club there have been some smaller societies. The earliest of these were The Discus, a short lived dining and debating club, and The Vagabonds, a lunch group of writers, editors, printers and illustrators. The Men's Open Table, founded in 1910, met weekly for more than forty years for dinner followed by a talk, given by a fellow member or an outside, often professional, lecturer. A wide range of topics, not necessarily on the arts, were presented and discussed at the Men's Open Table. The American Institute of Graphic Arts is one of the organizations said to have developed from associations formed and discussions held at the Men's Open Table. A Women's Open Table, patterned after the men's, was established later.

The National Arts Club, unlike many other private clubs founded during the same era, admitted women members from its inception. Throughout its history, the Club's membership has been comprised of artists, musicians, writers, and performers, as well as collectors and supporters of the arts drawn from all parts of the country. Membership peaked at around 1,800 in 1920, declining throughout the Depression and again in the mid-1950s, and remaining at about 600 for the next two decades.

Missing Title

1898 -- Founding; occupied temporary office at 156 Fifth Ave.

1899 -- Incorporation; leased clubhouse at 37 West 34th St.; opened first exhibition, American Gold and Silver Work

1900 -- Constitution adopted

1901 -- First donations to permanent collection; Arts Realty Co. formed for the purpose of acquiring and financing the adjacent property (39 West 34th St.)

1905 -- Arts Realty Co. purchased Gramercy Park property (Tilden Mansion) on behalf of NAC; remodeling of clubhouse and construction of studio tower begun

1906 -- Plan for financing new clubhouse approved; second Mortgage Bonds issued; clubhouse and studio tower occupied; First Annual Books of the Year Exhibition

1907 -- Annual Members' Exhibition initiated; Bulletin began publication

1910 -- First meeting of Men's Open Table (established 1909)

1914 -- Essay contest, "A Critical Estimate of the Altman Collection"

1917 -- American Artists War Emergency Fund Committee issues art stamp

1923 -- Junior Artist membership category created

1930-1931 -- Essay contest, "Soul of America"

1940 -- Works by deceased artist life members deaccessioned from permanent collection; fund for refugee artists established

1962 -- Clubhouse designated New York City Landmark

1976 -- Clubhouse designated National Historic Landmark

1987 -- NAC records donated to Archives of American Art
Appendix A: Annotated List of National Arts Club Exhibitions, 1899-1960:
* = photographs included with records of NAC (See pp. 22-23 for reel and frame numbers)

+ = photograph in NAC album (See pp. 24 for reel and frame numbers)

x = catalog, checklist, or printed announcement included with NAC printed matter

s = copy of catalog in NAC scrapbook (volume number noted, see pp. 27-32 for reel and frame numbers of each volume)

Microfilm reel and frame numbers (e.g.: N134:416-419) are cited below for NAC catalogs appearing in other collections within the Archives of American Art.

DateExhibitionOct. 30 *, 1899 -- House Warming, Exhibition of American Gold and Silver Work

Nov. 13-18, 1899 -- Tenth Exhibition of the Woman's Art Club; Reception to Miss Cecilia Beaux (N134:416-419)

Nov. 27-Dec. 10, 1899 -- Art Pottery, American, Oriental, and European (N134:407-415)

Dec. 23-Jan. 8, 1899 -- Exhibition of Small Bronzes (N134:437-443)

Jan. 13, 1900 -- Exhibition of Photographs, works by members of the Society of Mural Painters

Jan. 29, 1900 -- Design for Street Refuge, shown by New York Municipal Art Society

Feb. 5-22, 1900 -- Exhibition of Embroideries and Native Rugs (N134:420-425)

Feb. 24-Mar. 10, 1900 -- John Leslie Breck Memorial Exhibition (N443:703-708; N551:719-724)

Mar. 24-Apr. 14, 1900 -- Pastel Exhibition, American Work

Apr., 1900 -- Old and Modern Japanese Prints

Apr. 14-21, 1900 -- Ernest Tarleton Memorial Exhibition

Apr. 21-May 3, 1900 -- Exhibition of Color Reproductions, American and European

May 10-21, 1900 -- American Art Leatherwork (N134:432-426)

May 24-30, 1900 -- Small Exhibition of Japanese Water Colors

May 31-June 14, 1900 -- William Hamilton Gibson Memorial Exhibition

June, 1900 -- New York Municipal Art Society Competition

Nov. 28-Dec. 19 x, 1900 -- Arts and Crafts (N134:421-431)

Jan., 1901 -- Birds and Beasts in Art

Feb., 1901 -- Art Leatherwork and Objects Relating to the Hearth

Mar., 1901 -- Works by the Society of Mural Painters

Apr., 1901 -- Books and Bookmaking

Apr., 1901 -- Howard Walter, Water Colors Taken in Europe

May, 1901 -- Glass in the Arts

May, 1901 -- Memorial to John A. Fraser, His Paintings

May-Nov., 1901 -- Arts and Crafts in the Liberal Arts Building, Pan-American Pacific Exhibition, Buffalo, N.Y.

June-Sept., 1901 -- Sculpture, Oil Paintings, Pastels, Water Colors, and Objects of Industrial Art by Members of the Club

Oct., 1901 -- Memorial Window for the Ames Family by John La Farge

Nov., 1901 -- Annual Exhibition of Paintings and Sculpture by the Woman's Art Club

Dec., 1901 -- Objects Shown at the Pan-American Pacific Exposition

Jan., 1902 -- Ecclesiastical Art

Feb., 1902 -- Art Objects Relating to Civic Art, under the auspices of the Municipal Art Society

Mar., 1902 -- American Pictorial Photographs, shown by the Photo-Secession

Mar. 26-Apr. 21, 1902 -- Fourth Annual Exhibition of the National Sculpture Society (N551:725-729; N134:446-451)

May, 1902 -- Pictures of "Womanhood"

May, 1902 -- Memorial Window for Baltimore by D. Maitland Armstrong; Memorial Window for Wells College by Mrs. Ella Condie Lamb June Window in Stained Glass, Memorial to Julia Doane, Chicago, by John La Farge

Oct., 1902 -- Collection of Objects in Metal; Artistic Bird Cages lent by A. W. Drake, Esq.

Nov., 1902 -- Annual Exhibition by the Woman's Art Club

Nov., 1902 -- Paintings by Four Western Artists, Messrs. Duveneck, Steele, Meakin and Sharp, through the courtesy of the Cincinnati Museum Association

Dec., 1902 -- Designs Submitted for Competition for the Emblem of the Louisiana Purchase Exposition

Jan. s, 1903 -- Portraits of Napoleon, lent by John Leonard Dudley, Jr., Esq. (volume 4)

Jan., 1903 -- "Autumn," Stained Glass Window for the country residence of William C. Whitney, by John La Farge

Feb., 1903 -- Eskimo and Arctic Objects, with Paintings from the Arctic and Antarctic Circles by Frank Wilbert Stokes

Mar., 1903 -- Objects of Municipal Art

Apr., 1903 -- Examples of Ideal Art by American Artists

May, 1903 -- Sculptures by Rodin, Roche, and Rivere, belonging to Miss Lois Fuller

May, 1903 -- Portraits and other Paintings by American Artists of the Colonial and Early Periods

June-Oct., 1903 -- Summer Exhibition of Paintings, Water Colors, and Sculpture by Members of the Club

Nov., 1903 -- Jewelry and Precious Stones, Modern, Old and Oriental

Dec. 1-14, 1903 -- Thirteenth Annual Exhibition of the Woman's Art Club (N134:452-456)

Dec., 1903 -- Stained Glass Window, designed by Miss Mary E. Tillinghast

Dec., 1903 -- Sketches for the Sculpture at the Louisiana Purchase Exposition, shown by the National Sculpture Society

Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Eminent American Painters (N134:426-464, and volume 4)

Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (volume 4)

Feb., 1904 -- Pictures by Contemporary American Artists

Mar. 2-15, 1904 -- Loan Exhibition of Pictures by American Figure Painters (N50:471-472; N134:460-461)

Mar., 1904 -- Annual Exhibition of Objects of Municipal Art

Apr. 5-15 s, 1904 -- Loan Exhibition of Pictures by Some Boston Artists (N443:713-715, and volume 4)

Apr. 19-30 s, 1904 -- Loan Exhibition of Pictures by Old Masters, lent by the Messrs. Durand-Ruel (N443:711-712; N134:462-464, and volume 4)

May 3-14 s, 1904 -- Oil Paintings, Water Colors, and Drawings by John La Farge, N.A. (volume 4)

May, 1904 -- Photographs of Paintings by Old Italian Masters, under the auspices of the Library Committee

Oct., 1904 -- Work of Holders of the Lazarus and Reinhart Scholarships executed while at the American Academy in Rome

Nov., 1904 -- "The Moral and Divine Law," painting by John La Farge

Nov., 1904 -- Exhibition by Members of the Nippon-Bijitsuin (Japanese Art Academy)

Jan., 1905 -- Exhibition by the Lyme Group of Painters

Feb., 1905 -- "Old Masters" and Aphrodite

Feb., 1905 -- Pictures by Some Boston Artists

Mar., 1905 -- Annual Exhibition of the Municipal Art Society of New York

Apr., 1905 -- Artistic and Commercial Posters, under the Auspices of the Municipal Art Society

Apr., 1905 -- Textiles and Ceramics

Oct., 1905 -- "Out of Doors" as Seen by Various Artists

Nov., 1905 -- Color Prints by S. Arlent-Edwards

Dec., 1905 -- American Indians as Seen by the Artist and the Artist Photographer

Jan., 1906 -- Birds and Beasts in Art

Feb., 1906 -- Miniatures

Mar., 1906 -- Fifth Annual Exhibition of the Municipal Art Society

Mar., 1906 -- Exhibition by the Alumni of Cooper Institute

Apr. 2-14 s, 1906 -- Municipal Art Society Exhibit of Poster Designs (volume 4)

Apr.-May, 1906 -- Exhibition by the Women's Art Club of New York

Nov. 8-18 s, 1906 -- Opening Exhibition [first exhibition in new quarters]: American Paintings from the Collection of Mr. William T. Evans (D45:29-34, and volume 4)

Dec., 1906 -- Books of the Year

Dec. 8-Jan. 1 s, 1906 -- Pictures by Some American Painters (volume 4)

Jan. 12-Feb. 1 s, 1907 -- Modern German Paintings from the Collection of Mr. Hugo Reisinger (N443:716-717, and volume 4)

Feb. s, 1907 -- Exhibition of Wood Engravings by Timothy Cole made for Century Magazine

Feb., 1907 -- Longfellow Memorial

Mar. 13-31, 1907 -- Sixth Annual Exhibition of the Municipal Art Society of New York

Apr., 1907 -- New York Society of Ceramic Artists

Apr., 1907 -- Paintings and Sculpture by Members

May s, 1907 -- Exhibition of Artists' Preliminary Sketches

May-Nov., 1907 -- Sketches by Members

Oct. 16-Nov. 16 s, 1907 -- Fall Exhibition of Sketches by Members (volume 4)

Nov. 20-Dec. 11, 1907 -- Arts and Crafts Exhibition (N29:1001-1026)

Dec., 1907 -- Second Annual Exhibition of the New Books of the Year

Jan. 4-25 s, 1908 -- Contemporary Art (N443:744-746, and volume 5)

Feb., 1908 -- First Annual Exhibition of Advertising Art

Feb. 1-15 s, 1908 -- Contemporary Paintings (volume 5)

Mar., 1908 -- Exhibition of the Municipal Art Society of New York

Apr. 2-25 * s, 1908 -- Special Exhibition of Members' Work (volume 5)

Apr. 15-May 8 s, 1908 -- Members' Spring Exhibition (volume 5)

Apr. 25-May 15 s, 1908 -- Paintings Loaned by C. C. Ruthrauff (volume 5)

May *, 1908 -- Exhibition of Painting, Sculpture, and Illustration under the auspices of the Art Students League of New York

Oct. 21-Nov. 7 s, 1908 -- Members' Fall Sketch Exhibition (volume 5)

Nov. *, 1908 -- Third Annual Exhibition of Books of the Year

Dec., 1908 -- Arts and Crafts Exhibition

Jan., 1909 -- Second Annual Exhibition of Advertising Art

Jan., 1909 -- Small Exhibition of Paintings and Drawings by Contemporary Artists

Feb. 2-20 s, 1909 -- International Exhibition of Pictorial Photography (volume 1)

Feb. 23-Mar. 17 s, 1909 -- John W. Alexander Retrospective Exhibition (volume 5)

Apr., 1909 -- Exhibition of the New York Society of Keramic Arts

May, 1909 -- Spring Exhibition of Members' Work

July, 1909 -- Paintings from the Collection of Mr. and Mrs. William T. Evans

Sept.-Oct., 1909 -- Three Centuries of New York, under the auspices of the Hudson-Fulton Celebration

Nov. 3-26 s, 1909 -- Fourth Annual Exhibition of Books of the Year (volume 5)

Dec., 1909 -- Third Annual Exhibition of Arts and Crafts

Jan., 1910 -- William M. Chase Retrospective Exhibition

Feb., 1910 -- Exhibition of American Landscape Painting

Mar. 2-28 s, 1910 -- Exhibition of Paintings by Louis Mark, of Budapest (volume 5)

Apr. 6-30 s, 1910 -- Exhibition of Paintings by Alfred East, of London (N134:465-469, and volume 5)

May, 1910 -- Exhibition of Household Art, under the auspices of the Domestic Training Department of the Public Schools

May 4-Oct. s, 1910 -- Third Annual Exhibition of the Former Students of the Art Students League (volume 5)

Oct. 20-Nov. 1 s +, 1910 -- Third Annual Exhibition of Advertising Art (volume 5)

Nov.-Dec., 1910 -- Fifth Annual Exhibition of Books of the Year

Dec. * +, 1910 -- Fourth Annual Arts and Crafts Exhibition

Jan. 5-Feb. 3 s +, 1911 -- First Annual Artist Life Members' Exhibition (volume 5)

Feb. +, 1911 -- Exhibition of the New York Society of Keramic Arts

Feb. 11-Mar. 10, 1911 -- Circuit Exhibition of Contemporary Art (D12:437-439; N52:105-107)

Mar. 8-Apr. 5 * s +, 1911 -- Paintings and Drawings by Walter Shirlaw, N.A. (N52:967-973, and volume 5)

Apr., 1911 -- Exhibition of the Municipal Art Society of New York

Apr. 26-May * s +, 1911 -- Group Exhibition of Paintings: William R. Derrick, Reynolds Beal, Frederick J. Waugh (volume 5)

Oct. 25-Nov. 4 * +, 1911 -- Exhibition of Color Schemes and Model Rooms in Miniature

Nov. 8-30 * +, 1911 -- Sixth Annual Exhibition of Books of the Year

Dec. 7-28 * +, 1911 -- Fifth Annual Arts and Crafts Exhibition

Jan. 3-28 s +, 1912 -- First Prize Exhibition of Artist Life Members (N443:754-756, and volume 6)

Jan. 31-Feb. 18 * s +, 1912 -- Otto Walter Beck Exhibition (volume 6)

Feb. 21-Mar. 10 s +, 1912 -- Etchings of E. T. Hurley (volume 6)

Mar. 13-20 s +, 1912 -- National Park Pictures Collected and Exhibited by the Department of the Interior (volume 3)

Apr. 4-21 s +, 1912 -- Paintings, Embroideries, and Tapestries from the Collection of Mr. Emerson McMillan (D45:462-468; N443:757-762, and volume 6)

Apr. 4-Mar. 12 s, 1912 -- Exhibition of Original Dickens and Thackeray Drawings by Harry Furniss (volume 3)

May 8-June 1 * s +, 1912 -- Sculpture Exhibition (volume 6)

June 4-8 +, 1912 -- Exhibition of Industrial Art, under the auspices of The School Art League and the Art Departments of the City High Schools

June-Oct., 1912 -- Summer Exhibition of Painting and Sculpture

Oct. 16-Nov. 12 +, 1912 -- Third Special Exhibition of the Society of Illustrators

Nov. 13-29, 1912 -- Seventh Annual Exhibition of Books of the Year

Dec. 4-28 +, 1912 -- Sixth Annual Exhibition of the National Society of Craftsmen

Jan. 8-Feb. 9 +, 1913 -- Work of the Painter, Sculptor, and Architect Members (N443:763-767; N50:126-130)

Feb. 12-Mar. 9 * +, 1913 -- Exhibition of Works by the Late Frederick Warren Freer

Mar. 12-31 +, 1913 -- The Applied Arts of Germany

Apr. 2-27 +, 1913 -- Small Works by Six Painters: Richard E. Miller, Frederick Carl Frieseke, Charles W. Hawthorne, William Wendt, William Ritschel, and Elise Dodge Pattee

Apr. 30-June 1 +, 1913 -- Small Marbles and Bronzes (N551:732-737)

May-June, 1913 -- Summer Exhibition of Paintings and Sculpture

Oct. 15-Nov. 9, 1913 -- Society of Illustrators

Nov. 12-28, 1913 -- Eighth Annual Exhibition of Books of the Year

Dec. 3-28 * +, 1913 -- Seventh Annual Exhibition of the National Society of Craftsmen

Jan. 8-Feb. 1 +, 1914 -- Work of Painter, Sculptor, and Architect Members

Feb. 4-21, 1914 -- The Pastellists

Feb. 5-Mar. 21 x +, 1914 -- Contemporary Art

Mar. 11-29 * +, 1914 -- Hungarian Peasant Art (N134:470-479)

Apr. 1-May 2 +, 1914 -- Paintings by Eleven Western Artists

May 6-31 * +, 1914 -- Exhibition of Small Sculpture (N551:738-743)

June-Sept., 1914 -- Paintings

Nov. 4-27, 1914 -- Ninth Annual Exhibition of Books of the Year

Dec. 3-28 +, 1914 -- Eighth Annual Exhibition of National Society of Craftsmen

Jan. 7-31 +, 1915 -- Work of Painter Members (N551:744-746)

Feb. 4-25 +, 1915 -- Forty-eighth Annual Exhibition of American Water Color Society

Mar. 3-24 +, 1915 -- Portraits (N551:747-748)

Apr. 7-13 +, 1915 -- Sculpture

May 5-21, 1915 -- Exhibition of Municipal Art Society

June-Oct. *, 1915 -- Work of Painter Members

Oct. 13-30 +, 1915 -- Fifth Special Exhibition of the Society of Illustrators

Nov. 5-13 +, 1915 -- American Wood Engraving, under the auspices of the American Institute of Graphic Arts

Nov. 17-Dec. 3, 1915 -- Tenth Anniversary Exhibition of Books of the Year

Dec. 8-30 +, 1915 -- Ninth Annual Exhibition of the National Society of Craftsmen

Jan. 6-28 +, 1916 -- Work of Painter Members

Feb. 3-27 +, 1916 -- Forty-ninth Annual Exhibition of American Water Color Society

Mar. 2-25 * +, 1916 -- Loan Exhibition of Portraits of Academicians and Associates Selected from the Permanent Collection of the National Academy of Design (N551:749-752; N134:480-483)

Mar. 28-Apr. 14 +, 1916 -- One Hundred American Paintings by the American Institute of Graphic Arts (N443:768-770)

Mar. 28-Apr. 14 +, 1916 -- Exhibition of American Printing

Apr. 19-May 6, 1916 -- Exhibition of the Municipal Art Society

May 10-26, 1916 -- English Posters

June-Aug. +, 1916 -- Members' Summer Sketch Exhibition

Oct. 5-Nov. 3, 1916 -- Photography, under the auspices of the American Institute of Graphic Arts

Nov. 9-30, 1916 -- Eleventh Annual Exhibition of Books of the Year

Dec. 7-29, 1916 -- Tenth Annual Exhibition of the National Society of Craftsmen

Jan. 3-28 +, 1917 -- Annual Exhibition of the Work of Artist Members

Feb. 1-24 +, 1917 -- Fiftieth Annual Exhibition of the American Water Color Society

Feb. 28-Mar. 23 +, 1917 -- Etchings, under the auspices of the American Institute of Graphic Arts

Mar. 29-Apr. 27, 1917 -- Paintings by Boston Artists

May 2-Sept. +, 1917 -- Members' Sketch Exhibition

Oct. 3-31 +, 1917 -- Paintings from the Netherlands Section of the Panama-Pacific Exposition

Oct. 4-31, 1917 -- Illustrations of the Catskill Aqueduct

Nov. 8-30 +, 1917 -- Annual Exhibition of Books of the Year

Dec. 6-29, 1917 -- Eleventh Annual Exhibition of the National Society of Craftsmen

Jan. 3-Feb. 1 +, 1918 -- Annual Exhibition of Paintings by Members

Feb. 7-Mar. 1 +, 1918 -- Fifty-first Annual Exhibition of the American Water Color Society

Mar. 20-Apr. 26, 1918 -- Life Membership Pictures from the Permanent Collection

May, 1918 -- War Posters, under the auspices of the American Society of Graphic Arts

June 2-Oct. 1 +, 1918 -- Sketch Exhibition by Members

Dec. 5-28 +, 1918 -- Twelfth Annual Exhibition of Books of the Year

Jan. 8-31 +, 1919 -- Retrospective Exhibition of the Work of the Artist Life Members

Feb., 1919 -- Fifty-second Annual Exhibition of the American Water Color Society

Mar., 1919 -- Exhibition of War Housing

Apr. 2-May 3 +, 1919 -- Special Exhibition of the Society of Illustrators (N29:873-875)

May-Oct. +, 1919 -- Annual Exhibition of Sketches by Members

Nov., 1919 -- Annual Exhibition of Books of the Year

Jan. 7-30 +, 1920 -- Annual Exhibition of Painter and Sculptor Members (N29:864-866)

Feb., 1920 -- Fifty-third Annual Exhibition of the American Water Color Society

Mar., 1920 -- Drawings from Artists' Portfolios

Mar. 3-27 x +, 1920 -- American Drawings and Sculpture Sketches

Mar. 31-Apr. 16 +, 1920 -- Special Exhibition of the Society of Illustrators (N29:867-869)

May, 1920 -- Printing by the American Institute of Graphic Arts

June-Oct. +, 1920 -- Sketches and Small Sculpture by Members

Nov., 1920 -- Annual Exhibition of Books of the Year

Dec. 1-29 +, 1920 -- Exhibition of Art Expression by Club Members

Jan. 5-27 +, 1921 -- Members' Annual Prize Exhibition

Mar. 2-31 +, 1921 -- Art Directors Club First Annual Exhibition of Drawings and Paintings Used in American Advertising

Apr. 7-30, 1921 -- Exhibition of Old Prints, under the auspices of the American Institute of Graphic Arts (N443:775-778)

May-Oct., 1921 -- Pictures from the Club's Permanent Collection

Nov., 1921 -- Annual Exhibition of Books of the Year

Dec. 7-30 +, 1921 -- Humorists Exhibition

Jan. 5-28 +, 1922 -- Members' Annual Prize Exhibition

Feb., 1922 -- Seventh Annual Exhibition of Contemporary Bookplates, held by the American Bookplate Society

Feb. 15-Mar. 5 +, 1922 -- Exhibition of Paintings by Charles C.Curran, Franklin de Haven, George Glenn Newell, Harry W. Watrous

Mar., 1922 -- Lithographs

Apr. 5-30 +, 1922 -- Loan Exhibition of American Painting and Sculpture Owned by Club Members

May-Oct. +, 1922 -- Summer Exhibition of Artist Members

Nov., 1922 -- Annual Exhibition of Books of the Year

Dec. 6-29 +, 1922 -- Work by Members

Jan. 10-Feb. 10 +, 1923 -- Members' Annual Exhibition of Painting and Sculpture

Feb. 14-Mar. 3 +, 1923 -- Humorists Exhibition

Mar., 1923 -- Craftwork from Berea College, Kentucky

Mar., 1923 -- Group Exhibition: Roy Brown, Oscar Fehrer, Edmund Greacen, Eugene Higgins, Lee Laurie, F. Luis Mora, Carl Rungius, Edward C. Volkert.

Mar. 28-Apr. 20 +, 1923 -- Group Exhibition: Leon Dabo, William R. Derrick, Charles P. Gruppe, Hayley Lever, Charles R. Patterson

Apr., 1923 -- Miniature Garden Exhibition, by the Garden Club of America

May-July, 1923 -- Exhibition Selected from the Permanent Collection

June 5-28 +, 1923 -- Annual Prize Exhibition of Painter and Sculptor Members

Nov., 1923 -- Annual Exhibition of Books of the Year

Dec. 12-29 +, 1923 -- Work of Living American Etchers

Jan. 9-Feb. 2 +, 1924 -- Members' Annual Exhibition of Painting and Sculpture

Mar. 5-29 +, 1924 -- Exhibition of Sculpture

Apr., 1924 -- Selected Paintings from the Permanent Collection

Apr. 30-May 15 +, 1924 -- Exhibition of Books Illustrating the History of Printing

June, 1924 -- Adirondack Mountain Club Exhibition of Photographs

Nov. *, 1924 -- Annual Exhibition of Books of the Year

Dec. 10-27 +, 1924 -- Second Annual Exhibition of Living American Etchers

Jan. 7-31 +, 1925 -- Members' Annual Exhibition of Painting and Sculpture (N552:122-159)

Feb. 23-Mar. 7 +, 1925 -- Autograph Letters with Accompanying Portraits of Authors, Statesmen, Artists, etc.

Apr. 8-May 9 +, 1925 -- Exhibition of Lithographs, Wood Blocks, and Linoleum Cuts

Nov., 1925 -- Twentieth Annual Exhibition of Books of the Year

Dec. 3-20, 1925 -- Work of Living American Etchers (N552:1-7)

Jan. 13-Feb. 6 +, 1926 -- Members' Annual Exhibition of Painting and Sculpture (N552:19-21)

Feb. 10-27 +, 1926 -- Group Exhibiton by Members of the National Arts Club

Mar. 3-27 +, 1926 -- Copies of Old Masters

Apr., 1926 -- Architecture, Sculpture, and Decorative Painting

May +, 1926 -- Fifth International Exhibition of the Brooklyn Society of Etchers (N552:34-48)

Summer +, 1926 -- Summer Exhibition

Aug.-Oct. x, 1926 -- The Vollbehr Incunabula Exhibition

Nov., 1926 -- Twenty-first Annual Exhibition of Books of the Year

Dec. 2-22 +, 1926 -- Fourth Annual Exhibition of Works of Living American Etchers (N552:8-12)

Jan. 5-29 +, 1927 -- Annual Exhibition of Painting and Sculpture by Members

Feb. 11-27 +, 1927 -- Exhibition and Auction of Works of Art by Artist Members

Mar. 2-21 +, 1927 -- Invited Exhibition by Distinguished American Painters (NHS4:693-695)

Apr. 6-29 +, 1927 -- Norse Pictorial Weaving--Mrs. Berthea Aske Bergh (N552:66-68)

Nov., 1927 -- Twenty-second Annual Exhibition of Books of the Year

Dec. 7-24 +, 1927 -- Fifth Annual Exhibition of Works of Living American Etchers (N552:13-18)

Jan., 1928 -- Members' Annual Exhibition of Painting and Sculpture

Feb. 8-29 +, 1928 -- Small Paintings

Mar. 8-31 x, 1928 -- Exhibition of Decorative Arts

Apr. 4-20 +, 1928 -- Exhibition by Junior Artist Members of the Club

Nov., 1928 -- Twenty-third Annual Exhibition of Books of the Year

Dec., 1928 -- Small Paintings

Jan. 8-Feb. 8 + -- Members' Annual Exhibition of Painting and Sculpture

Feb. 13-Mar. 8 -- Sixth Annual Exhibition by Living American Etchers

Mar. + -- Richard M. Hurd Loan Exhibition of Italian Primitives

Apr. 3-26 + -- Exhibition by Junior Artist Members of the Club

May 1-Oct. 1 + -- Summer Exhibition by Painter Life Members

Nov. -- Twenty-fourth Annual Exhibition of Books of the Year

Dec. 4-26 * + -- Exhibition of the Decorative Arts

Jan. 8-Feb. 1 +, 1930 -- Members' Annual Exhibition of Painting and Sculpture

Feb. 5-28 x +, 1930 -- Seventh Annual Exhibition of Living American Etchers

Mar. 5-28 +, 1930 -- Junior Artist Members' Exhibition

Apr. 16-Sept. 30 +, 1930 -- Members' Exhibition of Small Paintings (N134:484-490)

Nov., 1930 -- Silver Anniversary Exhibition of Books of the Year

Dec. 3-26 * +, 1930 -- Eighth Annual Exhibition by Living American Etchers

Jan. 7-Feb. 6 +, 1931 -- Members' Annual Exhibition of Painting and Sculpture

Mar. 4-27 +, 1931 -- Exhibition by the Junior Artist Members

Mar. 13-Apr. 15 x, 1931 -- Auction Exhibition and Sale by Artist Members

Apr. 1-25 +, 1931 -- Members' Work of the New York Water Color Club

May 2-24 +, 1931 -- The Story of Gramercy Park in Portraits and Historical Objects of the Period, in connection with Gramercy Park Centenary Celebration

June 3-Oct. 1 +, 1931 -- Members' Exhibition of Small Paintings

Oct. 21-Nov. 20, 1931 -- Twenty-sixth Annual Exhibition of Books of the Year

Nov. 26-Dec. 26, 1931 -- Sixteenth Annual Exhibition by the Society of American Etchers (formerly The Brooklyn Society of Etchers)

Jan. 6-13 +, 1932 -- Members' Annual Exhibition of Painting and Sculpture

Feb. 3-27 +, 1932 -- Exhibition of Drawings by Artist Members

Mar. 2-26 +, 1932 -- Paintings by Junior Artist Members

Mar. 13-Apr. 15 +, 1932 -- Auction Exhibition and Sale by Artist Members

Apr. 20-30 +, 1932 -- Exhibition by a Group of New York Art Schools

May 4-Oct. 1 +, 1932 -- Members' Annual Exhibition of Small Paintings

Jan. 4-27 +, 1933 -- Members' Annual Exhibition of Painting and Sculpture

Mar. 1-31 +, 1933 -- Junior Artist Members

Apr. 5-22 +, 1933 -- Society of Illustrators

May 3-Oct. 1 +, 1933 -- Members' Exhibition of Small Paintings and Sculpture

Jan. 3-27 +, 1934 -- Members' Annual Exhibition

Jan. 31-Mar. 2 +, 1934 -- Memorial Exhibition of a Group of Former Painter and Sculptor Members: Max Bohm, Emil Carlsen, Charles Hawthorne, Robert Henri, Karl Bitter, Solon Borglum, Daniel Chester French, Edmund Quinn

Mar. 7-29 +, 1934 -- Junior Artist Members

Apr. 4-27 +, 1934 -- Society of Illustrators, Thirty-second Annual Exhibition

May 2-June 28 +, 1934 -- Members' Exhibition of Small Paintings and Sculpture (N552:69-71; N134:491-494)

Nov.-Dec., 1934 -- Seventeenth Annual Exhibition of the Society of American Etchers (formerly The Brooklyn Society of Etchers) (N552:49-65)

undated -- Twenty-ninth Annual Exhibition of Fifty Books of the Year

Jan. 9-Feb. 1 +, 1935 -- Members' Exhibition (N552:22-24)

Feb. 6-Mar. 2 +, 1935 -- Members' No Jury Exhibition of Painting and Sculpture (N552:72-74)

Mar. 6-29 +, 1935 -- Junior Artist Members (N552:75-77)

Apr. 3-27 +, 1935 -- Loan Exhibition of Works of Art owned by Artist Members (N552:84-96)

undated -- Thirtieth Annual Exhibition of Books of the Year

undated -- Twentieth Annual Exhibition of the Society of American Etchers

Jan. 8-31 +, 1936 -- Members' Annual Exhibition (M552:25-27)

Mar. 4-27 +, 1936 -- Junior Artist Members (N552:78-80)

Apr. 1-May 1 x +, 1936 -- Exhibition of Neighboring Art Organizations (N552:92-94)

Spring +, 1936 -- First Annual Exhibition of Pictorial Photography by the Pictorial Forum (N552:87-91)

1936 -- Thirty-first Annual Exhibition of Books of the Year

undated -- Twenty-first Annual Exhibition of the Society of American Etchers

Jan. 6-29 +, 1937 -- Members' Annual Exhibition

Mar. 3-26 +, 1937 -- Exhibition by the Younger Artists Group (N134:495-497)

Mar. 31-Apr. 27 +, 1937 -- Second Exhibition of Neighboring Art Organizations (N552:95-97)

Nov. *, 1937 -- Thirty-second Annual Exhibition of Books of the Year

Dec. 8-25 +, 1937 -- Members' Exhibition of Smaller Paintings and Black and Whites (N552:110-112)

Jan. 12-27, 1938 -- Exhibition of Former Painter and Sculptor Members (N552:113-115)

Mar. 14-Apr. 2 +, 1938 -- Third Exhibition of Neighboring Art Organizations (N552:98-100)

Apr. 6-20 +, 1938 -- Younger Artists Group Exhibition (N552:107-109)

Jan. 12-27 x +, 1939 -- Memorial Exhibition of the Work of a Group of Former Painter and Sculptor Members (N134:498-499)

Feb. 1-25 +, 1939 -- Members' Exhibition (N552:28-30)

Mar. 1-31 +, 1939 -- Exhibition of Flower Paintings (N552:116-118; N134:500-502)

Mar. 3-26, 1939 -- Younger Artists Group (N552:104-106)

Apr. 5-21 +, 1939 -- Fourth Annual Exhibition of Neighboring Art Organizations (N552:101-103)

May 10-24 +, 1939 -- Annual Junior Members' Exhibition (N552:81-83; N134:503-505)

June-Oct. +, 1939 -- Selected Works by Deceased Artists from the National Arts Club Permanent Collection (N552:119-121; N134:506-508)

Oct. 18-28 +, 1939 -- Special Exhibition of Paintings by Junior Members

Dec. 4-25 +, 1939 -- Christmas Sale of Paintings, Drawings, Photographs, and Sculpture by Junior Members

Jan. 3-19 +, 1940 -- Members' Annual Exhibition

Jan. 24-Feb. 9 +, 1940 -- Distinguished Exhibition of the Work of Living American Painters, Non-Members

Feb. 14-29 +, 1940 -- Exhibition and Sale of Ceramics (N134:511-513)

Mar. 19-29, 1940 -- Fontainebleau Alumni Exhibition

Apr. 3-19 +, 1940 -- Annual Junior Members' Exhibition

Apr. 24-May 3 +, 1940 -- Flower and Still Life Paintings

May 8-June 1, 1940 -- Special Exhibition of Water Colors, Architectural Renderings, Type Compositions, and Color Reproductions by Edwin Hooper Denby, A.I.A., S.A.D.G. (N443:779-780; N134:509-510)

Dec. +, 1940 -- Twenty-fifth Annual Exhibition of the Society of American Etchers

Feb. 4-Mar. 1, 1942 -- Exhibition of Paintings by Artists of the United Nations (N134:512-518)

June 12-Sept. 30, 1942 -- Members' Summer Exhibition (N134:519)

Dec. 16-Jan. 22, 1942 -- Exhibition of Chinese and Indian Art (N134:520)

Mar. 31-, 1943 -- Exhibition of Junior Members (N134:521)

July 1-Sept. 30, 1943 -- Summer Exhibition of Smaller Paintings by Members (N134:522)

Feb. 17-Mar. 15, 1944 -- Exhibition of Studies by American Masters (N134:523)

Oct. 5-27, 1944 -- Exhibition of Enlarged Photographs of American Patriots as Seen in Sculpture (N134:523)

Jan. 10-Feb. 9 x, 1945 -- Members' Annual Exhibition of Painting and Sculpture

Dec. 22-Jan. 4, 1945 -- Seventh Annual Exhibition of the American Veterans Society of Artists, Inc. (N134:527-540)

May 21-30, 1946 -- The Traphagen School Exhibition of Costume Design, Illustrating the Development of American Fashion (N134:526)

Feb. 20-Mar. 7, 1947 -- Exhibition of Contemporary Chinese Paintings (N134:541)

Apr. 20-May 2, 1947 -- Junior Members' Exhibition

Dec. 10-24, 1947 -- Ninth Annual Exhibition of American Veterans Society of Artists, Inc. (N121:721-733)

Feb. 23-Mar. 6, 1948 -- Forty-seventh Annual Exhibition of the New York Society of Ceramic Arts (N134:543)

Mar. 9-21, 1948 -- Annual Exhibition of Junior Members (N134:543)

Apr. 8-May 30, 1948 -- Fiftieth Anniversary Exhibition of Painting and Sculpture by Members, Past and Present (N134:543)

June 10-Sept., 1948 -- Members' Summer Exhibition (N134:544)

Jan. 19-Feb. 9, 1949 -- Fifty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists (N134:544)

Mar. 14-31, 1949 -- Exhibition by Members of the Federation of Modern Painters and Sculptors (N134:545)

May 5-Sept. 15, 1949 -- Members' Summer Exhibition (N134:546)

Oct. 15-Nov. 4, 1949 -- Fourth Annual Exhibition of the Photo-Engravers Society

Jan. 4-Feb. 1, 1950 -- Fifty-second Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (N134:546-548 and 550)

Jan. 28-Feb. 19, 1950 -- Eighty-third Annual Exhibition of the American Water Color Society (N134:549)

Feb. 8-23, 1950 -- Exhibition of Creative Art Associates (N134:549)

Mar. 16-Apr. 2, 1950 -- Exhibition of Room Interiors Especially Designed by Members of the American Institute of Decorators, in collaboration with Members of the National Society of Mural Painters (N134:551)

May 7-28, 1950 -- Active Members' Exhibition (N134:551-554)

June 28-Sept. 15, 1950 -- Members' Summer Exhibition (N134:555)

Feb. 26-Mar. 17 x, 1951 -- Paul Mommen

Mar. 24-Apr. 19, 1951 -- Exhibition of Paintings by Non-Members (N134:558-559)

May 5-31, 1951 -- Spring Water Color Exhibition (N134:560)

June 6-, 1951 -- Group Exhibition by Distinguished Artist Members: Gifford Beal, Louis Betts, Charles Clapman, Walter Farndon, Albert Groll, Eugene Higgins, Leon Kroll, Van Dearing Perrine, Keith Shaw Williams

Jan. 6-30, 1952 -- Fifty-fourth Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (D176:917-919; N134:561)

Feb. 9-28, 1952 -- Annual Water Color Exhibition (N134:562)

Mar. 9-27, 1952 -- Exhibition of Oil Paintings by Distinguished American Artists (N134:572)

Jan. 4-18, 1953 -- Fifty-fifth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:563)

Jan. 25-Feb. 8, 1953 -- Annual Water Color Exhibition (N134:564)

Feb. 15-Mar. 1, 1953 -- Open Exhibition of Oil Paintings (N134:565-568)

Mar. *, 1953 -- Art of Indonesia

May 3-24, 1953 -- Members' Exhibition of Smaller Paintings in Oil (N134:569-571)

Nov. 1-14, 1954 -- The American Artists Professional League, American Art Week (N121:258-259)

Oct. 2-19, 1955 -- Open Water Color Exhibition

Jan. 8-22 x, 1956 -- Fifty-eighth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:573-575)

June 17-Sept. 7 x, 1956 -- Members' Summer Exhibition

Sept. 24-Oct. 8 x, 1956 -- James H. Walsh

Oct. 28-Nov. 10 x, 1956 -- Small Picture Exhibition by Members and Guests

Nov. 16-30 x, 1956 -- August Benziger

Dec. 5-22 *, 1956 -- Fiftieth Anniversary Exhibition of Books of the Year

Jan. 6-27, 1957 -- Fifty-ninth Annual Exhibition of Painting and Sculpture by Members and Guest Artists

Feb. 1-15, 1957 -- Catherine Lorillard Wolfe Art Club Sixtieth Annual Exhibition (N134:576-577)

Sept. * x, 1957 -- International Exhibition of Painting and Sculpture

Jan. 10-24 x, 1958 -- Sixtieth Annual Exhibition of Painting and Sculpture by Members and Guest Artists

May 21-31 x, 1958 -- Water Color and Graphic Arts Exhibition by Members and Non-Members

Oct. 17-31 x, 1958 -- Twelfth Annual Exhibition of the Photo-Engravers Society

Nov. 22-Dec. 3 x, 1958 -- Metropolitan Young Artists Show

Jan. 11-26 x, 1959 -- Sixty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists

Dec. 9-Jan. 7 x, 1959 -- Metropolitan Young Artists Show

Jan. 15-28 x, 1960 -- Sixty-second Annual Exhibition of Painting and Sculpture by Members and Guest Artists

Apr. 18-May 1, 1960 -- Catherine Lorillard Wolfe Art Club Flower Painting Exhibition and Sale (D176:1128-1129)

June 8-29 x, 1960 -- Summer Exhibition of Painting and Sculpture by Members

undated -- * Arts and Crafts Exhibitions

undated -- * x Annual Exhibitions of Books of the Year

undated -- * Ceramic Art Exhibition

undated -- x Water-Oils by Charles S. Chapman, N.A.

undated -- x Fine Art of the Caribbean

undated -- x Painters of the United States, 1720-1920, from the Permanent Collection of the Fine Arts Department, International Business Machines Corp.

undated -- * Pottery Exhibition

undated -- * Traveling Exhibition of Enlarged Photographs of Sculpture and Spring Exhibition of Small Sculpture by Members of the National Sculpture Society

undated -- * Exhibition of Small Sculpture

undated -- x Modern Tapestries from Vienna

undated -- x Annual Open Water Color Exhibition

undated -- x Catherine Lorillard Wolfe Art Club, Flower Paintings Exhibition and Sale

undated -- * Unidentified exhibition installations
Related Material:
These citations were compiled from Art Index, 1929-1960; The New York Times Index, 1898-1960; Poole's Index to Periodical Literature, 1898-1906; Nineteenth Century Readers' Guide to Periodical Literature, 1898-1899; and Readers' Guide to Periodical Literature, 1900-1960, using the format employed in Art Index. Citations are presented in chronological order, as it is anticipated that most researchers consulting the National Arts Club Records will be interested in a specific event or era in the Club's history, or are apt to be researching artists whose National Arts Club affiliation or exhibition activities were confined to a particular period.

1898

National Art Club. -- Harpers Weekly -- 42:329, April 2.

1899

Club to advance art industries. -- Critic -- 34:349-51, April.

National Arts Club organized. -- New York Times -- (7-2), 29-288-2, April 26.

1909

Position as a factor in the encouragement of the fine arts. G. Teall. -- Craftsman -- 15:604-13, February.

Club officials rule a member may take a process server into club as a guest to serve papers on fellow member, case of R.S. Perrin vs. D. Whipple. -- New York Times -- 7:3, June 29.

1913

Lecture of Prof. Eucken on Art and Morality. -- New York Times -- 9:3, March 1.

Offers prize to member who writes best manuscript on "A Critical Estimate of the Altman Collection." -- New York Times -- 12:7, November 8.

Annual exhibition of Books of the Year; organization of American Institute of Graphic Arts planned. -- New -- York Times 9:3, November 13.

1914

Alexander de Yourevitch has visited Russian political exiles as agent from the Czar; arranges for Russian trade exhibit in New York; National Arts Club has agreed to cooperate. -- New York Times -- 20:2, March 27.

Dinner in honor of Shakespeare celebration, address by Henry Clews. -- New York Times -- 13:2, April 24.

Farewell dinner to Karl Vollmoeller and George Sylvester Viereck at National Arts Club by Alfred Rau. -- New York Times -- III, 7:3, May 7.

Exhibition of Books of the Year (editorial). -- New York Times -- VI, 514:2, November 22.

1915

Awards announced. -- New York Times -- 10:1, January 7.

Paintings exhibition. -- New York Times -- V, 11:13, January 10.

Poster exhibition. -- New York Times -- III, 2:5, March 28.

Thanksgiving dinner to east side waifs. -- New York Times -- 11:1, November 26.

1917

Annual exhibition; Gold Medal and $1000 prize awarded to Ben Foster. -- New York Times -- 10:6, January 4.

Memorial services for W.B. Howland. -- New York Times -- 7:3, March 3.

Offers prizes for best patriotic medal, poem, and song. -- New York Times -- 9:14, April 6.

Offers prizes to promote expression of American patriotism in art. -- New York Times -- IV, 13:2, April 15.

H.A.W. Wood speaks at distribution of prizes. -- New York Times -- 11:3, May 31.

"Road to France," $500 prize offered for appropriate music. -- New York Times -- 13:2, June 9.

American Artists' War Emergency Fund Committee announces that art stamp will be sold to aid artists reduced in circumstances through the war. -- New York Times -- 13:6, July 10.

Offers prize of $500 for best musical setting for D.M. Henderson's "The Road to France." -- New York Times -- VIII, 9:3, August 12.

Prize for music for war song by D.M. Henderson is awarded to Signe Lund. -- New York Times -- 13:3, November 1.

1919

Annual books exhibition. -- New York Times -- VIII, 686:1, November 23.

1921

Comment on suggestion by G. Bellows that proposed members should possess some work by living American artist. -- New York Times -- III, 20:3, February 6.

Elects governors. -- New York Times -- 9:2, April 13.

1922

Awards Agar prize to Christine Herter. -- New York Times -- 16:7, April 7.

Address by Ann Martin. -- New York Times -- 4:3, August 3.

1923

Annual exhibition of books; I. Zangwill speaks; protest by member. -- New York Times -- 6:1, November 8.

1924

Prize winners of annual exhibition. -- New York Times -- 4:15, January 10.

Honors J.G. Agar at dinner. -- New York Times -- 6:2, February 26.

1925

Mural panels of Old NY used for New Year's fete to be put on exhibition. -- New York Times -- 29:1, January 4.

Announces prize winners at Members' Annual Exhibition. -- New York Times -- VIII, 11:2, January 18.

Murals depicting history of NYC, painted for New Years' ball, to be given to Museum of the City of New York. -- New York Times -- 25:4, February 3.

Exhibition of lithographs, woodcuts, and linoleum prints. -- New York Times -- VIII, 11:13, April 12.

1926

Exhibition. -- New York Times -- 4:5, January 14.

Exhibition. -- New York Times -- 17:3, April 8.

Exhibition of photographs of recent buildings. -- New York Times -- VIII, 12:6, April 18.

15th century books brought from Germany by Dr. Otto H.F. Vollbehr on exhibition at the National Arts Club. -- New York Times -- 6:6, August 24.

15th century Book of Hours, worth $15,000, stolen from exhibition at National Arts Club. -- New York Times -- 1:2, August 26.

Feature article on exhibition. -- New York Times -- IV, 15:1, August 29.

Book of Hours mysteriously returned to Vollbehr by E.M. Garlock, attorney, acting for unnamed client who claims to have bought book from stranger. -- New York Times -- 19:1, September 12.

Editorial on return of book. -- New York Times -- 20:4, September 13.

21st annual book exhibit; addresses. -- New York Times -- 28:3, November 4.

History in connection with 20th anniversary celebration. -- New York Times -- VIII,18:6, November 7.

1927

New Year's Eve costume ball. -- New York Times -- 15:3, January 1.

Exhibition of American paintings. -- New York Times -- 25:5, March 3.

Exhibition of etchings. -- New York Times -- IX, 10:4, December 11.

1928

Exhibits. -- New York Times -- 30:2, January 12; -- New York Times -- IX, 13:2, January 29.

Awards in small painting exhibition. -- New York Times -- 27:2, February 10.

Exhibit. -- New York Times -- VIII, 15:3, February 12.

First exhibition of decorative arts. -- New York Times -- 28:4, March 15; -- New York Times -- IX, 15:4, March 18.

Exhibition. -- New York Times -- IX, 15:2, April 15.

1929

J. Lie, P. Manship, and C. Beach win prizes. -- New York Times -- 25:3, January 11.

Annual members' exhibition. -- New York Times -- X, 18:4, January 27.

Exhibition of crafts. -- New York Times -- X, 15:6, December 8.

Prize awarded to D.C. Nisbet. -- New York Times -- 23:5, December 29.

1930

Arts Club prizes announced. -- Art News -- 28:21, January 4.

Annual exhibition of painting and sculpture. -- New York Times -- VIII, 13:3, January 19.

Seventh annual exhibition. -- New York Times -- VIII, 13:1, February 16.

Annual junior art show. -- New York Times -- 3:5, March 15; -- New York Times -- X, 19:3, March 16.

Exhibition of prints by living American etchers. -- New York Times -- X, 18:1, December 14.

1931

New York season; Living American Etchers. -- Art Digest -- 5:14, January 1.

M. Gregg Memorial Prize awarded to I.G. Olinsky; medal to H.W. Watrous. -- New York Times -- 34:6, January 10.

Exhibitions. -- New York Times -- VIII, 12:7, February 22.

Exhibition of Junior Artist Members. -- New York Times -- IX, 13:4, March 15.

Hold exhibition of portraits and other objects relating to history of Gramercy Park. -- New York Times -- II, 1:7 and 18:4, May 3.

Annual exhibition of paintings by members. -- New York Times -- 30:6, June 4.

Awards to R.D. Bowden $3000 prize, offered by J.G. Agar for best book on "The Soul of America." -- New York Times -- 20:6, June 8.

1932

Annual exhibition of work by painter and sculptor members; prizes announced. -- New York Times -- 27:7, January 7.

Art Club prizes. -- Art Digest -- 6:10, January 15.

Forum on development of art talent in young artists. -- New York Times -- 13:8, January 18.

Arts Club prizes. -- Art News -- 30:20, January 23.

Opening. -- New York Times -- 16:7, February 4.

Prizes awarded to junior artists. -- New York Times -- 19:2, March 8.

Art auction totals $600. -- New York Times -- 19:5, April 14.

Members' exhibition of small paintings. -- New York Times -- 16:6, May 5.

National Arts Club book exhibition. E. Yost. -- Publishers Weekly -- 122:2382-3, December 31.

1933

R. Nickerson, new member, wins medal at annual painting and sculpture show; other awards. -- New York Times -- 18:2, January 5.

Annual members' exhibition. -- New York Times -- 13:2, January 13; -- New York Times -- IX, 12:6, January 15.

National Arts club prizes. -- Art Digest -- 7:15, January 15; -- Art News -- 31:7, January 28 Celebrates 119th birthday of S.J. Tilden. -- New York Times -- 17:6, February 8.

Exhibition by junior artist members. -- New York Times -- 15:2, March 2.

1934

Prizes for annual members' show announced. -- New York Times -- IX, 12:3, January 14.

Annual dinner. -- New York Times -- 17:4, January 18.

Prizes. -- Art Digest -- February 1, 8:19; -- Art Digest -- 8:13, May 15.

Memorial exhibition of eight of its deceased painter and sculptor members. -- New York Times -- IX, 12:6, February 4.

Junior members exhibit. -- New York Times -- 17:1, March 8; -- New York Times -- IX, 9:7, March 18; Prizes awarded. -- New York Times -- 22:8, March 22.

Annual members' show. -- New York Times -- 17:2, May 3; Awards, -- New York Times -- 21:1, May 8; -- New York Times -- IX, 7:7, May 13.

Awards given by Arts Club. -- Art News -- 32:4, June 2.

Rare book exhibition planned. -- New York Times -- 19:4, September 18; Exhibition. -- New York Times -- 17:1, September 19.

1935

Annual exhibition of members' work opened. -- New York Times -- 17:5, January 10; -- New York Times -- 9:3, January 14.

Annual dinner; awards. -- New York Times -- 20:7, January 17.

Stag dinner; portrait of Victoria replaces painting of nude. -- New York Times -- 23:4, February 1.

Prizes, annual exhibition of painting and sculpture. -- Art Digest -- 9:21, February 1.

Members' annual exhibition. -- New York Times -- 18:2, February 8; -- New York Times -- VIII, 9:6, February 17.

Annual exhibition by junior artists. -- New York Times -- 18:5, March 9.

Arts Club plans a large bazaar. -- Art News -- 33:10, August 17.

Series of articles on traditions of club being written. -- New York Times -- II, 7:1, October 6.

Plans for annual book week. -- New York Times -- II and III, 8:5, October 13; exhibitors to be entertained by J.R. Gregg, president. -- New York Times -- 19:2, October 30.

To award two trips to Europe for mural decoration. New -- York Times -- 26:7, November 1; -- New York Times -- 19:5, November 14.

To hold "At Home" tea. -- New York Times -- II, 8:2, December 8.

Dinner. -- New York Times -- 14:8, December 11.

1936

Annual members' exhibition. -- New York Times -- 19:6, January 9; -- New York Times -- 13:8, January 11; -- New York Times -- IX, 10:1, January 19.

Exhibition of modern textbooks. -- New York Times -- 17:7, February 6.

Announces winners of trips to Europe. -- New York Times -- 21:2, February 11.

Exhibition by neighboring organizations. -- New York Times -- IX, 8:1, April 12.

Summer exhibit from permanent collection. -- New York Times -- IX, 7:4, June 21.

Exhibition of contemporary books; authors' night. -- New York Times -- VI, 9:2, November 8.

Plans for children's matinee at annual book exhibition. -- New York Times -- VI, 7:2, November 8.

Women's open table plans dinner. -- New York Times -- 16:4, November 23.

Exhibition of Society of American Etchers. -- New York Times -- XII, 9:2, November 29.

1937

Awards at members' exhibit. -- New York Times -- 24:3, January 27.

Exhibitions sponsored by Society of American Etchers. -- New York Times -- 21:3, February 3; -- New York Times -- X, 9:7, February 7.

Women's committee holds drama dinner. -- New York Times -- 13:1, February 15.

R.D. Kohn speaks, -- New York Times -- 25:7, March 11.

Jr. artists group exhibit. -- New York Times -- IX, 10:1, March 14; Awards. -- New York Times -- 23:6, March 25.

Photographic exhibition. -- New York Times -- X, 10:2, May 16.

Officers elected. -- New York Times -- 19:1, May 20.

H. Hamilton exhibit. -- New York Times -- IX, 6:7, September 26.

Book of the year exhibit. -- New York Times -- 23:6, November 4; -- New York Times -- VI, 4:3, November 28.

Mr. H.P. Crine elected life member. -- New York Times -- 9:1, November 28.

Members' exhibit. -- New York Times -- 28:3, December 9.

1938

Women's Open Table plans. -- New York Times -- 11:2, January 17.

Members' annual exhibit. -- New York Times -- , January 18 26:2; -- New York Times -- IX,9:3, January 23; Awards. -- New York Times -- 22:2, January 27.

Members studio receptions planned. -- New York Times -- VI, 2:7, January 30.

Dinner honoring Dr. W. Damrosch. -- New York Times -- 12:5, March 7.

Exhibit by art groups near NYC. -- New York Times -- 20:8, March 28.

Group show. -- New York Times -- X, 8:2, April 17.

Viennese ball. -- New York Times -- 22:6, April 21.

J.F. Talcott elected president; D.E. Waid executive committee chairman. -- New York Times -- 21:6, November 19.

Victorian ball. -- New York Times -- 18:1, December 17.

1939

Members' memorial exhibit. -- New York Times -- 15:1, January 13; -- New York Times -- IX, 9:2, January 22.

Members' painting and sculpture exhibit. -- New York Times -- IX, 9:2, February 5.

Jr. Members' lecture. -- New York Times -- 10:2, February 6.

Painting exhibit. -- New York Times -- 18:1, March 1; -- New York Times -- X, 10:2, March 5.

Jr. Members party planned. -- New York Times -- 50:3, March 5.

Exhibit of neighboring art organizations. -- New York Times -- 13:2, April 17.

Wild West party planned to benefit Jr. Members Scholarship Fund; to close 40th anniversary celebration. -- New York Times -- II, 2:8, April 23; -- New York Times -- II, 3:1, April 30.

Jr. Members plan New Year's Eve Olympian Ball. -- New York Times -- 30:2, December 19; -- New York Times -- II, 1:2, December 31.

1940

Art by deceased life members to be sold. -- New York Times -- 17:2, January 5.

Group show; awards. -- New York Times -- 21:2, January 11.

Group show. -- New York Times -- 24:2, January 24; -- New York Times -- IX, 9:2, January 28.

Non-members exhibition. -- Art News -- 38:15, February 3.

Exhibits: ceramics. -- New York Times -- 17:4, February 16; Ceramics and flowers. -- New York Times -- 15:5, February 19; Ceramics. -- New York Times -- II, 5:2, February 25; Exhibits: Jr. members. -- New York Times -- IX, 10:2, April 14; Group show awards. -- New York Times -- 21: 5, April 25.

Pan-American Ball held. -- New York Times -- 21:5, April 20.

Fund campaign for refugee artists started. -- New York Times -- 8:2, July 31.

Establishes artist refugee fund. -- New York Times -- 19:1, August 1.

Benefit exhibit plans. -- New York Times -- 20:8, October 2; Exhibit. -- New York Times -- IX, 5:4, October 6.

County fair planned. -- New York Times -- II, 3:3, October 6.

Refugee artists show their work. -- Art News -- 39:10, October 12.

Annual book exhibit opens. -- New York Times -- 3:5, November 3.

Testimonial luncheon for foreign authors in U.S. -- New York Times -- 45:2, November 10.

National Arts Club dramatizes books at the 35th annual new books of the year exhibition. -- Publishers Weekly -- 138:2046, November 30.

1941

Annual members' exhibit. -- New York Times -- 24:8, January 10; Comment. -- New York Times -- IX, 9:2, January 12; Awards. -- New York Times -- 24:6, January 23.

Annual prizes. -- Art Digest -- 15:13, February 1.

Benefits concerts planned. -- New York Times -- 39:1, February 23; -- New York Times -- 20:7, March 28.

Annual exhibit awards. -- New York Times -- 28:3, March 11; Comment. -- New York Times -- I, 10:3, March 16.

Group shows. -- New York Times -- IX, 10:1, March 30; -- New York Times -- IX, 8:2, May 25; -- New York Times -- X, 13:5, May 25; -- New York Times -- IX, 7:5, June 15.

Book exhibit. -- New York Times -- 1:6,November 9.

1942

Group show. -- New York Times -- X, 10:1, January 18.

Group show. -- New York Times -- 14:4, February 4; Private preview. -- New York Times -- 15:4, February 5; Comment. -- New York Times -- IX, 9:6, February 8.

Jr. members to honor servicemen at Hallowe'en party. -- New York Times -- 16:3, October 30.

37th annual show of new books. -- Publishers Weekly -- 142:2044, November 14.

To sponsor Chinese and Indian art exhibit in NYC. -- New York Times -- VIII, 9:1, December 13; Exhibit. -- New York Times -- 42:5, December 17.

1945

Holds Xmas fair. -- New York Times -- 13:3, November 16.

1946

Contemporary American painting exhibit planned. -- New York Times -- 23:6, February 20.

Jr. members and young non-members exhibition. -- Art News -- 45:67, May.

Annual book show plans. -- New York Times -- 21:2, November 1; Show, W.L. Laurence speaks. -- New York Times -- 13:1, November 12.

Annual book show. -- Publishers Weekly -- 150:2731, 2718, November 9.

Packaging the book. P. Boswell. -- Art Digest -- 21:3, November 15.

Choosing best book jackets, 41st annual book show. -- Art News -- 45:8, December.

1947

Preview exhibit. -- New York Times -- 21:5, January 9.

Forming symphony orchestra. -- New York Times -- 27:1, September 19.

1948

Ninth annual exhibition of American Veterans Society of Artists. -- Art Digest -- 22:19, January 1.

Conservatives score at the 50th annual exhibition of painting and sculpture. -- Art Digest -- 22:17, February 1.

Fiftieth annual exhibition. -- Art News -- 47:49, March.

Book fair opens in NYC. -- New York Times -- 30:7, December 9.

1949

Summer annual. -- Art Digest -- 23:14, August.

Dinner honors Mrs. F.D. Roosevelt. -- New York Times -- 39:5, October 11.

1950

Fifty-second annual exhibition of oils and sculptures. -- Art Digest -- 24:12, January 15.

Members' summer exhibition. -- Art Digest -- 24:18, August.

Fair plans. -- New York Times -- 44:8, November 1.

1951

Members-guests annual. -- New York Times -- II, 19:1, January 14.

53rd Annual Exhibition. -- Art Digest -- 25:18, January 15; -- Art News -- 49:47, February.

Non-members annual. -- New York Times -- 21:5, March 30.

Open competition for non-members. -- Art Digest -- 25:18, April 15.

Summer painting exhibition series opens. -- New York Times -- 42:8, June 7.

Members work. -- New York Times -- II, 6:4, June 17.

Summer exhibition. -- Art Digest -- 25:19, July.

1952

Fifty-fourth annual exhibition. -- Art Digest -- 26:19, January 15; -- Art News -- 49:47, February.

Members and guests annual. -- New York Times -- 59:2, January 6; Awards. -- New York Times -- 16:2, January 17.

Watercolor annual; awards. -- New York Times -- 14:4, February 8; -- Art News -- 51:56, March.

Non-members painting annual; awards. -- New York Times -- 16:5, March 10; -- New York Times -- 27:3, March 13.

Small pictures by members; awards. -- New York Times -- 25:5, April 9.

Exhibition of small oils. -- Art Digest -- 26:18-19, April 15; -- Art News -- 49:47, February.

1953

Theatre in an art gallery. A. Scheff. -- Theatre Arts -- 37:92, January.

Members-guests annual; awards. -- New York Times -- II, 11:2, January 11.

Non-members painting annual; awards. -- New York Times -- 21:5., February 19.

Members work; awards. -- New York Times -- II, 13:2, May 10; -- New York Times -- II, 8:5, June 21.

1954

Painting and sculpture annual by members and guests. -- New York Times -- 25:5, January 26.

Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.

Members and non-members annual; contemporary watercolors; awards. -- New York Times -- 27:5, February 11; Review. -- New York Times -- II, 14:2, February 14.

Grand national annual members' competition. -- Art News -- 53:63, May.

1955

Painting and sculpture annual; awards. -- New York Times -- 23:1, January 12.

Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.

Paintings annual; awards. -- New York Times -- 18:4, March 1.

Annual exhibition of American oil paintings. -- Art Digest -- 29:26, March 15.

Poet P. MacKaye honored on 80th birthday. -- New York Times -- 28:2, March 16.

1957

Arts Club honors Neuman; WNYC. C. Durgin. -- Musical America -- 77:12, April.

Art Clubs of America. -- Artist -- 53:67, June.

1958

At founding [sixtieth anniversary]. -- New York Times -- 49:2, November 27.

First annual metropolitan young artists show; awards. -- New York Times -- 49:2, November 27

1959

Stadium Concerts founder Mrs. C.S. Guggenheimer gets scroll from Mayor Wagner and National Arts Club medal. -- New York Times -- 9:2, March 12.

1960

Tenor competition awards. -- New York Times -- 47:8, November 15.
Provenance:
The National Arts Club donated its records to the Archives of American Art in 1987. Although a limited amount of printed matter was available at various libraries and on microfilm through the Archives of American Art, scholars have not had access to unpublished records of the Club until this time.

In November 2017 an addition to the Officers' Correspondence was donated by Elizabeth G. Knudsen, granddaughter of Edmund Greacen, former Arts Committee Chair.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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.
Topic:
Photography -- Exhibitions  Search this
Bibliographical exhibitions -- New York (State) -- New York  Search this
Clubhouses -- New York (State) -- New York  Search this
Handicraft  Search this
Decorative arts  Search this
Function:
Arts organizations
Arts organizations -- Taxation
Genre/Form:
Scrapbooks
Citation:
National Arts Club records, 1898-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.natiartc
See more items in:
National Arts Club records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw945ac729a-aadb-4fcd-8e02-a05f4a198d34
EDAN-URL:
ead_collection:sova-aaa-natiartc

Chaim Gross papers

Creator:
Gross, Chaim, 1904-1991  Search this
Names:
Blume, Peter, 1906-1992  Search this
Grooms, Mimi Gross  Search this
Newman, Arnold, 1918-2006  Search this
Robbins, Warren M.  Search this
Soyer, Raphael, 1899-1987  Search this
Extent:
21.1 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Motion pictures (visual works)
Date:
1920-2004
Summary:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art. An unprocessed addition of three sketchbooks was donated in 2020.
Scope and Contents:
The papers of New York City sculptor and teacher Chaim Gross measure 21.1 linear feet and date from 1920-2004. The collection provides comprehensive documentation of Gross's career through biographical material, personal and professional correspondence with family, artists, writers, galleries, museums, educational institutions, and religious and philanthropic organizations, writings, personal business records, extensive printed and published material including motion picture film and video recordings of four documentaries, one hundred and fifteen sketchbooks spanning the bulk of Gross's career, and photographs of Gross, his family, many friends and colleagues from the art world, his studio, personal art collection, and works of art.

Biographical material includes records collated to document awards and honors given to Gross documenting the recognition he received for his lifelong achievements in the last two decades of his career, including from the American Academy of Arts and Letters and the National Academy of Design. The series also includes Gross's birth certificate printed in 1920, some biographical notes and resumes prior to the 1970s, documentation of Gross's business and personal contacts through addresses and business cards, and a motion picture film of a documentary about Gross, Art and the Model, made in 1976 by Thea Bay and edited by Bob Worth.

Personal and professional correspondence constitutes the largest series in the collection and documents all aspects of Gross's prolific career including: personal letters from friends and family such as daughter Mimi Gross and Red Grooms; professional correspondence with galleries, museums, and other art institutions including the Jewish Museum, Metropolitan Museum of Art, the Smithsonian American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art; correspondence documenting commissions, loans, and sales of Gross's artwork through galleries including Forum Gallery; and correspondence with synagogues including International Synagogue, Temple Sharaay Tefila, and Temple Sinai, Pittsburgh, and multiple other Jewish organizations such as Hadassah and State of Israel Bonds. Correspondence also documents publications by and about Gross including letters from Abe Lerner, the Jewish Publication Society of America, Chaim Potok, and Harry N. Abrams, Inc.; Gross's work as a teacher including at the Educational Alliance and the New School for Social Research; and the significance of Gross's personal collection of African art through correspondence with Warren M. Robbins, the Smithsonian Museum of African Art, and others. Gross's work for the Works Progress Administration Federal Art Project and Treasury Relief Project, as well as for the 1939 World's Fair, is also documented in this series and includes contracts and correspondence with Ed Rowan.

Correspondence includes many letters from artist friends and colleagues including Isabel Bishop, Peter Blume, Eliot Elisofon, Eugenie Gershoy, Milton Hebald, Lewis Jacobs, Karl Knaths, Arnold Newman, Elias Newman, Saul Rosen, Moses Soyer, Raphael Soyer, Nicholas Sperakis, William and Marguerite Zorach, and many others. Writers and scholars who corresponded with Gross include Samuel French Morse, Jack C. Rich, Shea Tenenbaum, Roberta Tarbell, and others.

Writings primarily consist of a partial draft of Gross's book The Technique of Wood Sculpture but also include a copy of his first published article in 1938 in the American Federation of Arts Magazine of Art, and a few short writings by Gross on other artists. Writings by others include a memoir of Gross's boyhood written by his brother, poet Naftoli Gross.

Gross's personal business records are scattered, as many transactional records are included with his correspondence. They do include lists of Gross's artwork and his personal art collection, two agreements for rights to use his work, appraisals of twelve of his works of art, and receipts of consignments, sales, loans, and gifts of artwork.

Printed material is a comprehensive and substantial record of Gross's exhibitions, and his prolific engagement in the arts and his community throughout his long career. This series includes announcements and catalogs for many of his exhibitions, brochures and programs for art organizations for which he exhibited, taught, donated to, or was otherwise represented in, notably the Educational Alliance, the New School for Social Research, the Sculptors Guild, Inc., and numerous other private and public museums, galleries, and institutions. Also found is circa one linear foot of clippings about Gross that span his career from newspapers, magazines, and journals, including some Hebrew and Yiddish publications. The series also houses video recordings of the documentaries Tree Trunk to Head and A Sculptor Speaks, and an NBC broadcast of an interview with Gross entitled The Two Chaims, as the motion picture film, A Sculptor Speaks.

Sketchbooks provide a unique visual record of Gross's development and the shifting focus of his subject matter from 1933 to right before his death in 1991. They record his early subjects of acrobatic models, family bonds, and landscapes, and the emergence of darker "fantasy" drawings in the wake of the Holocaust and World War II which brought the news of the murder of his brother and sister and her family by the Nazis. The sketchbooks document Gross's travels abroad during the 1960s, and his incorporation of Jewish iconography and Old Testament themes in the 1960s and 1970s. They also illustrate how the constant theme of the celebration of the human form persisted in his work to the end of his life.

Photographs of people and events, although only measuring 0.7 linear feet, provide a rich visual record of Gross's life and his professional and personal relationships from the time he arrived in the United States in 1920 to the late 1980s. The earliest photographs picture Gross with his brothers and with new friends at the Educational Alliance including Moses and Raphael Soyer, Peter Blume, and Elias Newman. There are many photographs of Gross working in his studios, and at the Bedi-Makky Art Foundry in Brooklyn, photographs taken at parties, exhibition openings, receptions, and other events, and photographs of Gross's art collection and exhibition installations. Photographs picture artists such as Hyman Brown, Jose de Creeft, Joseph Hirsch, Moses Soyer, and Raphael Soyer; and gallery owners and collectors including Bella Fishko, Joseph Hirshhorn, Sidney Janis, and Warren M. Robbins. The series also houses photographs of works of art, primarily sculpture, executed by Gross between 1922 and 1987.

An unprocessed addition of three sketchbooks was donated in 2020.
Arrangement:
The collection is arranged as eight series.

Series 1: Biographical Material, 1920-circa 1991 (0.35 linear feet; Box 1, FC23)

Series 2: Correspondence, 1926-1997 (8.75 linear feet; Boxes 1-9, 22)

Series 3: Writings and Notes, 1938-circa 1980s (0.25 linear feet; Boxes 9-10)

Series 4: Personal Business Records, circa 1936-1982 (0.25 linear feet; Box 10)

Series 5: Printed Material, 1925-2004 (3.7 linear feet; Boxes 10-14, 22, FC 24)

Series 6: Sketchbooks, 1933-1991 (6.1 linear feet; Boxes 14-19, 22)

Series 7: Photographs, circa 1921-circa 1990s (1.5 linear feet; Boxes 20-22)

Series 8: Unprocessed Addition, 1949-1951 (0.2 linear feet; Box 25)
Biographical / Historical:
New York City sculptor and teacher Chaim Gross (1904-1991) is considered one of America's foremost sculptors, known for his semi-abstract bronzes celebrating the human form, and his pioneering work in direct wood carving. Gross taught for over fifty years at the Educational Alliance Art School and for forty years at the New School for Social Research.

Born in 1904 in Wolowa, Galicia, in what is now the Ukraine, Gross studied at the National Academy of Fine Arts in Budapest in 1919 and at the Kunstgewerbeschule in Vienna in 1920 before immigrating to New York in 1921. He attended the Lower East Side Educational Art School in New York City from 1921-1927 where he began lifelong friendships with artists Moses Soyer, Raphael Soyer, Peter Blume and other important twentieth century artists. Gross also studied with Elie Nadelman at the Beaux-Arts Institute of Design and Robert Laurent at the Art Students League. He began teaching at the Educational Alliance in 1927 where his students included Louise Nevelson.

Gross married Renee Nechin in 1932 and they had two children, Yehuda and Miriam (Mimi). Mimi Gross is a New York-based artist who was married to artist Red Grooms from 1963-1976.

Gross's first solo exhibition was held at Gallery 144 in New York City in 1932, and he began to develop a reputation as a major contemporary sculptor when he joined the Federal Art Project in 1934 and won a commission from the Treasury Department competition for art works for public buildings in 1936. His projects included relief panels for the Federal Trade Commission building in Washington, D. C., and a large-scale family group for the France Overseas and Finnish Buildings at the 1939 New York World's Fair. In 1938 Gross founded the Sculptors Guild with William Zorach and served as the guild's first president. His work began to be acquired by major American museums, including the Whitney Museum of American Art, and the Metropolitan Museum of Art which in 1939 awarded Gross a $3000 purchase prize for his wood sculpture of circus performer Lillian Leitzel.

In 1938 filmmaker Lewis Jacobs produced a thirty minute film, Tree Trunk to Head, of Gross carving a wood sculpture of Renee Gross in his studio. Lewis subsequently produced a seventeen minute film, The Sculptor Speaks, of Gross working in his studio in 1957. That same year Gross published an influential how-to book The Technique of Wood Sculpture, featuring photographs by Eliot Elisofon.

Much of Gross's early work focused on performers such as acrobats and dancers, family groups, and the mother and child bond. The bulk of his work was in wood, particularly hardwoods with a dark or pronounced grain. In the 1940s, after hearing that his brother Pincus and sister Sarah and her family had been murdered by the Nazis, Gross devoted time daily to sketching in his notebooks, producing a visual diary of the emotional trauma involved in processing their horrific fate and navigating his own grief. A collection of the drawings was published in Chaim Gross: Fantasy Drawings (Beechurst Press) in 1956. Gross carved My Sister Sarah – in Memoriam (no. 36) in 1947 and made the first of seven trips to Israel in 1949.

By the late 1950s Gross was working less in direct carving and was focusing primarily on modeling in plaster on an armature for casting in bronze. In 1957 and 1959 he traveled to Rome, Italy, and worked with the Nicci Foundry. Bella Fishko began representing Gross's work after establishing Forum Gallery in New York City in 1961. After 1947 Gross had begun to incorporate more Jewish iconography and Old Testament themes into his work, designing and casting large scale menorahs for synagogues such as Temple Sinai in Pittsburgh and the Menorah Home for the Aged in Brooklyn during the 1960s. He executed six bronze panels, entitled Six Days of Creation, for Temple Sharaay Tefila in New York City in 1964, and Ten Commandments for the International Synagogue at Kennedy Airport in 1970-1971. In 1973 Gross illustrated The Book of Isaiah, published by the Jewish Publication Society of America.

Gross was active in many art-related and philanthropic organizations throughout his life and was the recipient of numerous awards, honors, and honorary degrees. He was elected to membership of the National Institute of Arts and Letters in 1964, became an Academician at the National Academy of Design in 1983, and was inducted into the American Academy of Arts and Letters in 1984. A solo exhibition Chaim Gross: Sculpture and Drawings, was held at the Smithsonian's National Collection of Fine Arts in 1974. In 1977 Gross had three retrospective exhibitions at the Lowe Art Museum at the University of Miami, the Montclair Art Museum, and the Jewish Museum in New York City. Scholar Roberta Tarbell wrote a key essay on Gross for the Jewish Museum exhibition.

In addition to being a professor of sculpture and printmaking at the Educational Alliance Art School and the New School for Social Research, Gross taught at the Brooklyn Museum Art School, the art school of the Museum of Modern Art, and the Art Students League.

Gross had begun collecting African sculpture in the 1930s and was later introduced by art critic Frank Getlein to Warren M. Robbins, who established the Museum of African Art in 1964. Gross gave Robbins several pieces for the museum and connected him with other individuals whose private collections of African art Robbins learned would be key to the success of the museum. A selection from Gross's renowned collection was exhibited at the Worcester Art Museum in The Sculptor's Eye: The African Art Collection of Mr. and Mrs. Chaim Gross in 1976.

The Renee & Chaim Gross Foundation was created in 1974 at 526 LaGuardia Place, the historic Greenwich Village townhouse which Chaim and Renee Gross purchased in 1962 and renovated to include studio and gallery space with living quarters above. Three years after Gross's death in 1991, the Renee and Chaim Gross foundation opened to the public with a memorial exhibition of the sculptor's work. 526 LaGuardia Place continues to house an extensive collection of Gross's artwork, a photographic archive, and Gross's personal art collection. Gross's work is represented in major museums throughout the United States and abroad, with the Smithsonian's Hirshhorn Museum and Sculpture Garden housing the largest collection of his sculpture in a public museum.
Related Materials:
Additional Chaim Gross papers are held by Syracuse University.
The Archives of American Art also holds an oral history interview of Chaim Gross conducted 1964 September 1 by Dorothy Seckler and an oral history interview of Chaim Gross conducted 1981 May 26-27 by Milton Wolf Brown.
Separated Materials:
The Archives of American Art holds the microfilm (Reels D115a, 924, and 925) of ten record books, 1926-1975, containing rough drawings of artworks, dimensions, titles, dates, materials, production locations, and information regarding owners. The record books were returned to the donor after microfilming and are not described in the collection container inventory.
Provenance:
The Chaim Gross papers were given to the Archives of American Art in a series of accessions by Chaim Gross from 1963-1983. Thirteen postcards were given by Mrs. Irving Marantz in 1975. Mimi Gross donated eight letters and two envelopes in 2005. Additional papers were donated by the Renee and Chaim Gross Foundation in 2016 via Susan Fisher, executive Director, and in 2017 and 2020 by the Foundation via Sasha Davis, Interim Director and Curator of Collections.
Restrictions:
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Art teachers -- New York (State) -- New York  Search this
Topic:
Jewish artists  Search this
Sculpture, Modern -- 20th century  Search this
Genre/Form:
Sketchbooks
Video recordings
Motion pictures (visual works)
Citation:
Chaim Gross papers, 1920-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.groschai
See more items in:
Chaim Gross papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e77fa914-8285-4fca-a0f9-63172974dee1
EDAN-URL:
ead_collection:sova-aaa-groschai
Online Media:

Asawa, Ruth

Collection Creator:
Ankrum Gallery  Search this
Container:
Box 4, Folder 22
Type:
Archival materials
Date:
1960-1963
Collection 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.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
See more items in:
Ankrum Gallery records
Ankrum Gallery records / Series 5: Artists' Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw912de4ff0-e92b-4521-93ca-c9d535ee272e
EDAN-URL:
ead_component:sova-aaa-ankrgall-ref100
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Asawa, Ruth digital asset number 1

Oral history interview with Rosanne Somerson

Topic:
Fine woodworking
Interviewee:
Somerson, Rosanne, 1954-  Search this
Interviewer:
Michie, Thomas S.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Haystack Mountain School of Crafts  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Peters Valley (Craft center)  Search this
Rhode Island School of Design -- Faculty  Search this
Rhode Island School of Design -- Students  Search this
Richard Kagan Gallery  Search this
Snyderman Gallery  Search this
Abramson, Ron  Search this
Callahan, Harry M.  Search this
Capanigro, Paul  Search this
Cooke, Ned  Search this
Dunnigan, John, 1950-  Search this
Fairbanks, Jonathan L.  Search this
Follen, Eck  Search this
Frid, Tage  Search this
Jackson, Dan  Search this
Joseph, Peter T. (Peter Thomas), 1950-1998  Search this
Kagan, Richard  Search this
Keck, Hardu  Search this
Kranov, James  Search this
Maruyama, Wendy, 1952-  Search this
Mattia, Alphonse  Search this
Melanson, Gracie  Search this
Osgood, Jere, 1936-  Search this
Sfirri, Mark  Search this
Siskind, Aaron  Search this
Swanson, Charlie  Search this
Szasz, Merlin  Search this
White, Leroy  Search this
Wolf, Hans  Search this
Extent:
61 Pages (Transcripts)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2006 August 7 and 2007 June 22
Scope and Contents:
An interview of Rosanne Somerson conducted 2006 August 7-2007 June 22, by Thomas Michie, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, at the Rhode Island School of Design, in Providence, Rhode Island. In part one of this interview, Somerson speaks of growing up outside of Philadelphia, Pennsylvania; attending RISD beginning in 1971; being asked to teach there nine years later; creating a new department of furniture design; tailoring that furniture design program to encompass the development from design to manufacture; introducing materials other than wood into the program; garnering international attention through worldwide exhibits; her first show at the Richard Kagan Gallery in Philadelphia; participating in a group show in New York City for female woodworkers; making connections through the Snyderman Gallery and Pritam and Eames Gallery; working directly with clients on commissioned pieces; the financial stability of teaching; designing a piece for the headquarters of Khon, Peterson Fox, and Conway in New York; the sculptural elements present in many of her works; moving from a small studio in Boston, Massachusetts, to a larger studio in Westport, Connecticut, and finally to a shared studio in Fall River, Massachusetts; the supportive and proud reaction of her children to her work; creating a production company with colleagues and designing furniture for the RISD dormitories; attempting to make these designs both flexible and environmentally-friendly; putting aside teaching for an administrative position in the department; recent travel to Japan, Australia, England, Israel, and France; enrolling in summer programs with art schools like Haystack Mountain School of Craft in Maine and others; and excitement for her upcoming sabbatical.
In the second portion of the interview, she discusses living in a house built by her father in Wyncote, Pennsylvania; enjoying the location of the house on a former cherry orchard and consequently being drawn cherry wood as a medium; the feeling of her parents that anything could be accomplished with a certain amount of study; her mother's interest in weaving and spinning later in life; the creative pursuits of her older brothers, including creative writing and photography; verbally communicating the outside world to her blind grandfather and gaining an aptitude for interpreting visual imagery; being more academically than artistically focused in her youth; visiting art museums and having other cultural experiences with her family; being fascinated with photography by seeing her brother's work; deciding to put off college in order to spend a year in Denmark studying photography; enrolling in RISD and feeling overwhelmed at first by her inexperience; taking a winter course in wood-working and preferring it to photography; being advised by her teacher Tage Frid to gain a wood-working education by pursuing sculpture at RISD; transferring into industrial design later; learning a great deal from and being extraordinarily influenced by Tage Frid as a furniture designer and teacher; taking a semester off to attend Peters Valley Craftsmen in New Jersey; spending a few years after graduation assisting Frid with the writing and publication of his articles; working as an assistant editor for Fine Woodworking magazine; being offered a job at RISD in the furniture department; creating the furniture design program; using RISD's collection as inspiration for her work and as a teaching tool; moving towards using more local woods in her designs; her recent lecture and travel in China; and looking forward to focusing on her work in the new studio.
Somerson recalls John Dunnigan, Dick Kagan, Ned Cooke, Jonathan Fairbanks, Wendy Maruyama, James Krenov, Dan Jackson, Jere Osgood, Alphonse Mattia, Peter Joseph, Ron Abramson, Charlie Swanson, Eck Follen, Peter Walker, and others. In the second part, Somerson recalls Merlin Szasz, LeRoy White, Hardu Keck, Gracia Melanson, Harry Callahan, Aaron Siskind, Paul Crot, Paul Capanigro, Tage Frid, Hans Wolfe, Mark Sfirri, and others.
Biographical / Historical:
Rosanne Somerson (1954- ) is a professor of furniture design and furniture designer and maker in Westport, Massachusetts. Thomas Michie is a curator of decorative arts, Los Angeles County Museum of Art, Los Angeles, California.
General:
Originally recorded on 5 sound discs. Reformatted in 2010 as 2 digital wav files. Duration is 3 hr., 3 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Furniture designers -- Rhode Island  Search this
Topic:
Decorative arts  Search this
Educators -- Rhode Island -- Interviews  Search this
Photography  Search this
Women artists  Search this
Women designers  Search this
Women educators  Search this
Furniture design  Search this
Function:
Artists' studios
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.somers06
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db2e506b-fd9b-42d1-b6a2-f24d806027dc
EDAN-URL:
ead_collection:sova-aaa-somers06
Online Media:

Correspondence

Collection Creator:
Breuer, Marcel, 1902-  Search this
Extent:
5.3 Linear feet (Boxes 1-6, OV 47; Reels 5708-5717)
Type:
Archival materials
Date:
1923-1986
Scope and Contents note:
Correspondents in this series include a wide range of international architects, designers, and artists who interacted with Breuer. The letters discuss his training and the execution of his hundreds of architectural projects and designs for furnishings. Researchers will find the letters between Breuer and his Bauhaus colleagues, including Josef Albers, Herbert Bayer, Walter Gropius, and László Moholy-Nagy, of particular interest.

Appendix A: List of Notable Correspondents from Series 2: Correspondence
Arrangement note:
The files are arranged chronologically, with the undated letters arranged alphabetically according to the correspondents' surnames.
Appendix A: List of Notable Correspondents from Series 2: Correspondence:
Missing Title

Aalto, Alvar, 1964 (1 invitation): to reception honoring Aalto

Abercrombie, Stan (architect), 1964-1977 (8 letters)

Abramovitz, Max (Harrison & Abramovitz, Architects), 1947 (3 letters) and 1963 invitation from Brandeis University in honor of Abramovitz

Harry N. Abrams, Inc., 1975 (2 letters): from Breuer's office Académie d'Architecture, 1976-1979 (4 letters)

Acme Laboratory Equipment Company, 1950 (1 letter): from Breuer's office ács, Gábor and Anikó, 1956 (1 letter)

Adelaide Festival of Arts, 1959 (1 letter)

Adler, Bruno, 1937 (1 letter) ágasvári, Vilmos, 1957-1958 (2 letters)

Agel, Jerome B. (Agel & Friend), 1959 (1 letter): includes press release

Agostini, Edward (Becker and Becker Associates), 1969 (1 letter): from Breuer's office

Airflow Refrigeration, 1954: (1 letter): from Breuer's office

Alabama Polytechnic Institute, 1947 (1 letter)

Albers, Josef ("Juppy") and Anni (Black Mountain College), 1933-1958 (11 letters): a 1956 letter includes miscellaneous typescripts by Albers and clippings; a 1965 letter to the Phoenix Art Museum from William A. Leonard of the Contemporary Arts Center concerns an Albers exhibition and includes a list of works; a 1967 letter from Breuer to National Institute of Arts and Letters includes a typescript concerning Albers

Albert, Edouard (architect), 1956-1958 (2 letters)

Albright Art Gallery, 1959 (3 letters)

Alexander, H. J. W. (Architectural Association), 1957-1958 (4 letters)

Alpern, Robert, 1964 (letter from Breuer)

B. Altman & Company, 1951 (1 letter)

Aluminum Company of America (ALCOA), 1946-1964 (2 letters)

Aluminum Import Corporation, 1946 (2 letters)

Alvarez, Raúl J., 1968 (1 letter)

American Academy in Rome, 1947-1961 (4 letters): request recommendations for Frederic S. Coolidge, Arthur Myhrum, and Thomas B. Simmons

American Academy of Arts and Letters, 1965-1978 (10 letters): a letter 1967 is a nomination by Walter Gropius for Sigfried Giedion's honorary membership in American Academy of Arts and Letters and National Institute of Arts and Letters; see National Institute of Arts and Letters

American Academy of Arts and Sciences, 1977 (1 letter)

American Academy of Political and Social Science, 1946 (1 letter)

American Arbitration Association, 1960-1968 (52 letters)

American Church in Paris, 1966 (1 letter): from Robert F. Gatje

American Council for Emigres in the Professions, Inc., undated: letter introduces Viola Kondor

American Craftsmen's Council (Mrs. Vanderbilt Webb), 1967 (1 letter)

American Designer's Institute, 1947 (convention schedule)

American Export and Isbrandtsen Lines, 1963 (1 letter)

American Federation of Arts, 1958-1967 (8 letters)

American Field Service, 1956 (1 ): letter from Breuer on behalf of Danielle Eyquem

American Fork & Hoe Company, 1944 (1 letter)

American Hungarian Studies Foundation (August J. Molnár), 1964-1968 (10 letters): a 1967 invitation is to George Washington Awards Dinner in honor of Breuer, Watson Kirkconnel, and Hans Selye

American Institute of Architects, 1946-1976 (45 letters): membership applications for Edward Larrabee Barnes, Landis Gores, John MacL. Johansen, George Sherman Lewis, A. McVoy McIntyre, Robert Hays Rosenberg, Bernard Rudofsky); a 1963 letter from Breuer's office concerns a Skyscraper Architecture survey team from Japan; a 1968 letter concerns the Comité Organizador de Los Juegos de la XIX Olimpiada

American Institute of Architects, College of Fellows, 1976 (1 letter): from Breuer's office

American Institute of Architects, Jury of Fellows, 1960 (3 letters): from Breuer

American Institute of Architects, Library Buildings Award Program, 1967 (1 letter): from Breuer's office

American Institute of Architects, New York Chapter, 1945-1963 (16 letters)

American Institute of Decorators (Richard F. Bach), 1956 (1 letter)

American Institute of Interior Design in Switzerland (Charles D. Gandy and Susan Zimmermann), 1977-1978 (2 letters)

American-Jewish Congress: see Commission on Community Interrelations (CCI)

American Library Association, 1951-1968 (2 letters)

American Planning and Civic Association, undated: membership notice

American Press Institute, 1974-1975 (5 letters): from Breuer

American Radiator and Standard Sanitary Corporation, 1947 (1 letter): from Breuer

American Shakespeare Festival, 1954 (1 letter): from Breuer's office

American Society for Church Architecture, 1965-1966 (4 letters)

American Society for Friendship with Switzerland, 1969 (1 letter)

American Society of Interior Decorators, 1976 (1 letter): from Breuer's office

American Society of Planners and Architects (ASPA), 1945-1947 (12 letters)

Anderson, Lawrence B., 1945-1965 (2 letters): see American Society of Planners and Architects (ASPA)

András, Ivánka, 1957 (1 letter)

Andrews, Robert, 1956 (1 letter)

Aoyagi, Nobuo, 1964 (1 letter)

Aoyagi, Tetsu, 1965 (1 letter)

Arbelaez, Carlos, 1952 (1 letter): from Breuer)

Architects & Engineers Institute, 1959 (1 letter)

Architects' Collaborative, 1946-1959 (3 letters): see McMillan, Louis and Peggy

Architectural Association, London, 1965-1969 (7 letters): see project file for UNESCO for correspondence with Edward J. Carter Architectural Design, 1960 (1 letter): from Ernesto Fuenmayor and Manuel Sayago of Centro Profesional del Este)

Architectural Forum, 1960 (1 letter): from Leonard J. Currie

Architectural Group, (W. D. Wilson), 1947 (1 letter)

Architectural League of New York, 1947-1975: (26 letters and minutes from 6 meetings): see Ketchum, Morris

Architectural Record, 1946-1959 (9 letters)

Architectural Students Association, 1958 (1 letter)

Architecture Formes Fonctions, 1971 (3 letters): includes a typescript "Design Research in Concrete" for July 1971 magazine

Architektur + Wohnwelt, 1975 (3 letters)

Argan, Giulio Carlo, 1955-1957 (6 letters)

Arizona, University of, 1974 (1 letter): from Breuer's office

Arnold, Randolph, undated: illustrated Christmas card

Arp, Hans Jean, 1954-1959 (5 letters): a 1959 letter on Arp's behalf from Marguerite Hagenbach; a 1959 wedding announcement for

Arp and Hagenbach

Arseniev, Milko, 1975 (1 letter)

Art Circus: see Long Beach Art Association, Inc.

Art Directors Club, Inc., 1975 (5 letters)

Artek-Pascoe (Clifford Pascoe), 1941-1946 (2 letters)

Artigas, Josep Llorens (ceramist colleague of Joan Miró), undated and 1960-1963 (5 letters)

Arts Council of Great Britain, 1962 (4 letters): concern an

Alexander Calder sculpture

Art Squad, Inc. (Ernest Costa), 1952 (1 letter): from Breuer's office

Asfia, H. E. Dr. Safi (Iranian deputy prime minister), 1974 (1 telegram): from Breuer

Ashihara, Yoshinobu ("Yosh"), undated and 1954-1970 (26 letters): a 1955 letter encloses a photograph of Ashihara and a model of his project

Association of Hungarian Students in North America, undated and 1958 (4 letters)

Atelier International, Ltd., 1968 (2 phone messages)

Atkin, William Wilson (Silvermine Publishers), 1965 (1 letter)

Atlanta Central Library, 1975 (1 letter): from Breuer

Atlantic Refining Company, Inc., 1956 (1 letter)

Atlas Tile & Marble Company, 1955 (1 letter): from Breuer's office

Auchincloss, Lily and Douglas, undated and 1963 (5 letters)

Auckland University College, 1945 (2 letters): 1 letter from Walter Gropius

Aufricht, Gustave and Maria, 1955-1970 (4 letters)

Aujame, Roger and Edith (and María Feuyo McVitty), undated (1 letter)

Australian National Gallery, Canberra, 1975 (3 letters): from Breuer

Austrian Consulate General, 1951 (2 letters)

Austrian Institute and Mrs. Schlag, 1964 (invitation to reception)

Auzelle, Robert (architect), 1956 (1 letter): see Académie d'Architecture

Babarovic, Gretchen and John, undated and 1963 (2 letters)

Bacal, Jacob, 1967 (1 letter)

Bachem, Hans Peter (architect), 1950 (1 letter)

Baer, David C. (AIA), 1956 (1 letter): from Breuer

Bak, Joseph, 1950 (1 letter)

Baker, James (Tower Development), 1981 (1 letter): from Breuer's office

Baldes, Jeannette, 1948 (1 letter)

Baldwin, Benjamin, undated (2 letters)

Ballard, Robert F. R., 1975 (1 letter): from Breuer's office

Bard Civic Award Trust Fund: see City Club of New York, Albert S. Bard Civic Award Trust Fund

Bárdos, Tamés, 1947 (1 letter): from Breuer

Barnes, Belva Jane ("B. J."), undated and 1956-1957 (4 letters)

Barnes, Edward Larrabee (architect), 1945-1955 (5 letters)

Barnett, Steven G., 1966 (1 letter)

Barroso, Nicolás Mariscal (VIII Congreso Panamericano de Arquitectos, México), 1952 (2 letters)

Barry, Gerald, 1951 (1 invitation): mentions Barry

Bartholdy & Klein, 1933 (1 letter)

Bartlett, Allan J., 1950 (1 letter): from Robert W. Gumbel

Bartolozzi, Goffredo (Vetro Italiano di Sicurezza, Milan [VIS]), 1959 (1 letter)

Bassetti, Fred (Bassetti & Morse, Architects), 1951 (2 letters)

Bauen + Wohnen, 1974-1975 (5 letters): from Breuer

Baughman, George F. (New York University), 1959 (1 letter)

Bauhaus-Archiv, Bibliothek und Schausammlung, 1972 (1 letter): to Knoll International

Bauhaus Archiv E. V., 1960 (1 letter)

Bayer, Herbert and Joella, undated and 1933-1966 (87 letters)

Beaux Arts Club, 1968 (1 letter)

Beaux-Arts Institute of Design, 1946-1947 (3 letters)

B.E.B. Consultants, 1982 (1 letter): from Robert F. Gatje

Bechtol, Ron (Lance Larcade & Bechtol), 1968-1976 (3 letters)

Beck, Martin (New York University), 1962-1964 (2 letters): from Hamilton Smith

Beckhard, Herbert and Ellie and Susan, undated and 1954-1980 (45 letters)

Bee, Anton, 1957 (1 letter)

Beekman, Rev. Gerardus, 1955 (1 letter): from Breuer

Begrow, Harold J., 1954 (3 letters)

Behar, Esther, 1968 (1 letter): from Breuer

Belgiojoso, Lodovico (Lodovico B. Belgiojoso, Enrico Peressutti, Ernesto N. Rogers, architects), 1950 (1 letter)

Belluschi, Pietro (MIT School of Architecture and Planning), 1954-1968 (3 letters)

Bemis, Frances, 1954 (1 letter)

Bemo Shipping Company, 1954-1956 (2 letters)

Bender, Richard (Harvard University), 1952 (2 letters)

Benesch, Edward M. (Gomprecht & Benesch), 1955 (1 letter)

Benglia, Christine (architect; married architect Alistair Bevington), 1964 (1 letter)

Bennett, Richard M. (Loebl, Schlossman & Bennett), 1958 (1 letter)

Benton & Bowles, Inc., Advertising, 1955 (1 letter)

Beothy, E., undated (1 letter)

Bergen County Cut Stone Company, 1967 (1 letter): from Breuer's office

Bergen, Emiel, 1956 (1 letter)

Berger, Donald (North Dakota Agricultural College), 1953 (1 letter)

Berger, George, 1950 (1 letter)

Berger, Otti, undated and 1934-1937 (7 letters)

Berger, Sanford and Helen (architects), 1945 (1 letter): from

Breuer to László Moholy-Nagy and Ludwig Mies Van der Rohe introducing the Bergers

Berger, Stephen E., 1959 (1 letter)

Berizzi, Sergio, 1959 (4 letters): letters of introduction

Berko, Franz, 1946-1947 (5 letters): including one from László Moholy-Nagy

Berlin Interbau, (International Building Exhibition), 1957 (1 letter): from mayor of Berlin

Berndt, Marianne, 1933 (1 letter)

Berti, Vincent, 1974 (1 letter): from Breuer's office

Better-Philadelphia Exhibition (Richard A. Protheroe, Harry

B. Nason, Hugh B. Sutherland), 1947 (1 letter)

Bevington, Alistair M., 1959 (1 letter): includes résumé

Bevington, Mariette (stained-glass designer), 1967 (1 letter): to Herbert Beckhart

Bharadwaj, Ajaya, 1955 (2 letters)

Biasini, E. J. (French prime minister), 1972 (1 letter)

Biddle, Mrs. Francis, 1962-1968 (3 letters): includes a funeral announcement for her husband)

Biddle, George, 1965 (4 letters): 3 from Breuer

Bier, Justus (University of Louisville), 1938 (3 letters)

Bigeleisen, Jacob (University of Rochester), 1970 (1 letter) Ronald S. Biggins and Associates, 1958 (1 letter)

Bijenkorfbeheer N.V., Amsterdam, 1967-1974 (2 letters): from Breuer

Bill, Alexander H., Jr., undated (1 calling card)

Blake, Peter (architect), undated and 1950-1976 (41 letters): a 1958 letter from Breuer is illustrated with a hand-drawn map by

Blake of Easthampton property

Blanton, John A., 1951 (1 letter)

Blaustein, Morton K., 1963-1965 (2 letters)

Bliss, Douglas P. (Glasgow School of Art), 1947 (1 letter): from Breuer

Bloeme, Sidney, 1963 (1 memorandum): from James S. Plaut

Blum, Kurt (photographer), 1974 (1 letter): from Breuer's office

Bode, Paul (architect), 1956 (1 letter)

Bodri, Ferenc, 1967-1975 (3 letters): 2 1975 letters from Breuer

Boehringer Ingelheim, Ltd., 1975 (1 letter): from Breuer

Bogner, Walter, 1938-1960 (4 letters): see Project File for UNESCO

Boissonnas, Eric and Sylvie, undated and 1960-1978 (20 letters)

Bollingen Foundation, 1964 (1 invitation): to reception in honor of Sigfried Giedion

Bonaparte, Mrs. Robert L., 1955 (1 letter)

Bonomi, Maria, undated and 1958 (2 letters)

Bookman, Mrs. John, 1964 (1 letter)

Borbíró, Virgil (Hungarian architect), 1945-1956 (2 letters): includes Borbíró's obituary

Borglum, Paul, 1950 (1 letter): see Project File for UNESCO

Born, Karl, 1968 (1 letter): from Breuer

Borsódy, István ("Stephen"; historian; Hungarian Legation) and Zsóka, 1946-1965 (5 letters): 1951 letter includes a biographical sketch of Borsódy by Aladár Szegedy-Maszák

Bortfeldt, Hermann (Büro Willy Brandt), 1963 (1 letter)

Bosch, Robert, 1934 (2 letters)

Bosserman, Joseph Norwood, 1963-1967 (2 letters)

Bosshard, J., 1956 (1 letter)

Boston Architectural Center, 1968 (1 letter)

Boston Redevelopment Authority, 1970 (1 letter)

Boston Society of Architects, 1946 (1 letter): from Breuer to John R. Abbott

Botond, Stephen G. ("Pista"; architect), 1958-1960 (2 letters): includes wedding announcement for Botond and Patricia Potter Luce

Bouchet, Maxime, 1953 (5 letters)

Bourget, Inc., 1955 (2 letters): from Breuer's office

Bower, John, 1954 (1 letter)

Bozzola, Vittorio, 1964 (2 letters)

Bradford, Carol (Mrs. Amory H. Bradford), 1951 (1 letter): from Breuer

Brandon-Jones, John, 1958 (1 letter)

Brandstätter, Elsbeth, 1936-1937 (2 letters)

Brassaï, Gyula Halász (Romanian photographer), undated (1 calling card): no signature

Peter Bratti Associates, 1974-1975 (2 letters): from Breuer

Bratti, Peter (A. Tozzini Tile Works, Inc.), 1958 (1 letter)

Braun, Wolfgang, 1968 (1 letter): from Breuer

Braziller, George, 1966 (1 letter)

Bremer, Paul and Nina, 1975 (2 letters)

Breuer, Constance (née Leighton), 1947-1982 (22 letters): from Breuer and Breuer's office; a 1967 letter, 1967, from French filmmaker Gerard Calisti is routed from Robert Osborn; an invitation from M. Knoedler and Company concerns reception for Lina Kandinsky

Breuer, Francesca, undated and 1966-1973 (3 letters): includes a letter of recommendation from Tician Papachristou

Breuer, Hermina, 1950 (1 telegram): from Breuer

Brewer-Cantelmo Company, Inc., 1966 (3 letters): from Breuer's office

Brewer, Joseph, 1965 (1 letter)

Brewster, George W. W., Jr., undated and 1946 (2 letters)

Brey, David M. (architect), 1950 (1 letter)

Breydert, Katherine, 1946 (1 letter)

Brickel/Eppinger, Inc., 1963 (3 letters)

Brigham, Richard C., 1954 (1 letter)

Brion, Maud (secretary to Eric Cercler), 1966-1972 (10 letters)

Brissenden, Norine (Mrs. P. R. Brissenden), 1947 (1 letter)

British Chair Company, 1954 (1 letter): from Breuer's office

Brodovitch, Alexey (Harper's Bazaar), 1954-1961 (16): 13 letters from Breuer's office

Broner, Gisela (wife of Erwin Broner, architect), undated (1 letter)

Brooklyn College Library, 1958 (1 letter)

Brooklyn Museum, 1944 (1 letter)

Brooks, J. H. (Putnam & Company), 1954 (1 letter): from Breuer

Brooks, Kenneth, 1968 (2 letters)

Brown, Elliott, 1951 (4 letters)

Brown, Graham, 1954 (1 letter)

Brown, Helen M., 1958 (1 letter): from Breuer's office

Brown, Jane M. (Mrs. Elliott Brown), 1975 (1 letter): letter is illustrated with drawing of Alexander Calder mobile

Brown, Joseph, 1955 (1 letter): includes transcript of

Brown's lecture at Princeton University

Browne, Robert Bradford (architect), 1968 (1 letter)

Brumwell, Marcus, 1944 (1 letter)

Brun, Jacques D. (architect), 1958 (1 letter)

Bryn Mawr School for Girls, 1981 (1 letter): from Betsy Prioleau

Bryson, Clayton J., 1950 (1 letter)

Budapest Muszaki Egyetem (István Benke), 1970 (1 letter)

W. S. Budworth and Son, Inc., 1963 (1 letter): from Charles H. Sawyer

Builders Publishing Company, 1954 (1 letter): to Rufus Stillman

Building Progress, 1974 (1 letter): from Breuer's office

Bujdosó, Ferenc, 1963 (2 letters)

Bulova, Arthur, 1950 (1 letter): from Breuer's office

Burchard, Charles (architect), 1945-1960 (10 letters)

Burchard, John E., 1967-1971 (2 letters): see American Society of Planners and Architects (ASPA)

Burkland, Howard (Shere Naven Corporation), 1951 (1 letter): from Stamo Papadaki

Burton, Véra, undated (1 letter)

Buyoucos, James V., 1952 (1 letter): from Breuer

Byrd, Dale, 1950-1968 (5 letters)

Cabinet Norbert Guerle, 1953-1954 (10 letters)

Caesar, Harry I. (Leslie Stillman's father, married to sculptor Doris Caesar), 1954-1955 (4 letters): 3 from Breuer's office

Calder, Alexander, 1938-1975 (12 letters): a 1947 letter is illustrated with a map; a 1975 letter contains a typescript about

Calder

Calico Museum of Textiles, India, 1974 (1 letter): from Breuer's office

California Council, AIA, 1960 (5 letters)

California, University of, Berkeley, 1957-1964 (3 letters)

Calisti, Gerard (French filmmaker): see Breuer, Constance

Canaday, John (New York Times), 1959 (1 letter): from Rufus Stillman

Canadian Architect, 1974 (1 letter): from Breuer's office

Canavesi, Schifra, undated and 1935-1957 (8 letters)

Candela, Felix (Cubiertas ALA S.A.) and Dorothy, undated and 1956 (3 letters)

Caplan, Frank (Creative Playthings), 1950 (1 letter)

Cardinal Stritch College, Milwaukee, Wisconsin, 1970 (1 letter)

Cardot, Vera (photographer), 1975 (1 letter): from Breuer's office

Carmel, Moty, 1968 (1 letter): from Breuer

Carpanelli, Franco, 1951 (1 letter)

Carpentier, Jacques H., 1960 (1 letter)

Carré, Louis, 1964 (1 letter and 1 picture postcard): postcard shows map to Maison Carré and house designed by Alvar Aalto

Carreras, Guillermo and Margarita, 1968 (1 letter): from Breuer

Carson, Alice Morgan (Museum of Modern Art), undated and 1943 (3 letters)

Carstensen, William (Carstensen, Inc.), 1954 (1 letter): from Breuer's office

Carter, Edward J. ("Bobby"; librarian, UNESCO): see, Architectural Association, London; see Project File for UNESCO

Carter, Stephen Newhall, 1976 (1 letter)

Cassinello, F. (Instituto Tecnico de la Construcción y de Cemento), 1960 (1 letter)

Catalano, Eduardo Fernando, 1945-1968 (8 letters)

Catan-Rose Institute of Art, 1965 (invitation): to reception at Gracie Mansion

Cavazzuti, Ugo, 1969-1970 (2 letters)

Central Mortgage and Housing Corporation, 1975-1976 (3 letters): from Breuer's office

Central School of Arts and Crafts, London, 1947-1950 (2 letters): includes an invitation to the school's presentation of diplomas by Sir Kenneth Clark

Central State AIA Conference, Omaha, 1976 (1 letter): from Breuer's office

Century Association, 1976 (1 letter)

Century Club, 1974-1976 (3 letters): 2 letters from Breuer's office

Century Lighting Company, 1956 (1 letter): from Breuer's office concerning Torrington, Connecticut factory

Cepero, Carlos Celis (architect), 1965 (1 letter)

Cercle d'études Architecturales, 1953 (1 letter)

Cercler, Eric: see Brion, Maud

Chase Manhattan Bank, 1955-1965 (5 letters): from Breuer's office

Chatfield, Ayla K. (architect), 1975 (2 letters)

Checkman, Louis (photographer), 1955 (1 letter)

Cheever, John, 1967 (1 letter)

Chelsea Association for Planning and Action, 1941 (1 letter)

Cheng, Tzu-tsai, 1968 (1 letter): from Breuer

Chermayeff and Cutting, Architects and Industrial Designers, 1956 (2 letters)

Chermayeff, Ivan, 1957-1975 (2 letters): from Breuer's office; a 1957 letter concerns a 70th birthday greeting for Le Corbusier

Chermayeff, Serge (Erich Mendelsohn & Serge Chermayeff, Architects), 1936-1978 (10 letters)

Cherry, Ned, 1968 (1 letter): from Breuer

Chiang, Helen and Arthur, 1950 (envelope only) and 1970 (1 letter)

Chicago Housing Authority, 1946 (2 letters)

Chien, Alan Shue Shih, 1969 (2 letters)

Children's Recreation Foundation, Inc., 1967 (1 letter): from Breuer's office

Chinoy, Rustam, 1954 (1 letter): from Breuer's office

Churchill, Henry S. (Churchill-Fulmer Associates), 1947 (1 letter): from Breuer

Ciampi, Mario J. (architect), 1968 (1 letter)

Cidor, Ruth, 1971 (1 letter)

Citizens Committee for a Nuclear Test Ban Treaty, 1963 (1 letter): see also Van Doren, Mark

City Club of New York, 1963-1964 (3 letters)

City Club of New York, Albert S. Bard Civic Award Trust Fund, 1968 (6 letters)

Ciudad Universitaria de México, 1952 (1 invitation): to VIII Congreso Panamericano de Arquitectos

Clark, Donald and Dallas (Associated Seed Growers), 1954 (1 letter): see Project File for UNESCO

Clarke, Arundell, 1950 (1 letter)

Clergue, Lucien (photographer), 1966-1967 (5 letters)

Cleveland Museum of Art, 1967 (1 letter): from Breuer's office

Cleveland Trust Company, 1970 (1 letter)

Clyne, Harry, 1947 (1 letter): from Breuer

Cochran, Alexander S. (architect), 1950-1967 (4 letters)

Coderch, J. A. (architect), 1961 (1 greeting card): includes photograph of exhibition

C. Coggeshall Design, 1944 (3 letters)

Cohen, Ken, 1968 (1 letter): from Breuer

Cold Spring Granite Company, 1960-1965 (11 letters): a 1964 letter has a design for a candle holder

Cole, Howard I. (Rutgers University), 1957 (1 letter): from Breuer

Coleman, Albert, 1945 (1 letter)

Colen, Eszter and Bruce, 1963 (2 letters)

Colorado, University of, Boulder, Student Chapter of AIA, 1958 (1 letter)

Columbia Broadcasting System (CBS), 1975 (1 letter): from Breuer's office

Columbia University, 1964-1977 (6 letters): see Project File for UNESCO

Comité Français de l'American Field Service, 1956 (1 letter)

Comité Organizador de Los Juegos de la XIX Olimpiada, 1968 (4 letters)

Commission on Community Interrelations (CCI) of the American-Jewish Congress, 1945 (8 letters)

Compagnie Française de Transports Internationaux, 1954 (1 letter)

Compton, W. Danforth, 1950 (1 letter)

Concha, Gonzales, 1952 (1 letter): from Breuer

Concrete Industry Board, Inc., 1969 (2 letters)

Condé Nast Publications, Inc., 1955 (1 letter)

Congrès Internationaux d'Architecture Moderne (CIAM),

Chapter for Relief and Post-War Planning, 1944-1956 (27 letters)

Congrès Internationaux d'Architecture Moderne, Mars Group (British branch of CIAM), 1946-1947 (5 letters)

Conklin, George W. (architect), 1956 (2 letters)

Connecticut Chapter of AIA, 1963 (2 letters)

Connecticut Public School Building Commission, 1951 (1 letter): from Breuer

Connecticut Society of Architects (Norman L. Raymond), 1963 (1 letter)

Contemporary Arts Association, 1952 (2 letters)

Contemporary Arts Center, 1965 (3 letters): concerning Josef Albers exhibition

Contemporary Authors, 1963 (1 letter)

Contini, Paolo and Jeanne, 1968 (1 letter)

Contreras, Carlos (XVI Congreso Internacional de Planificacion y de la Habitación, México), 1938 (2 letters)

Conway, Harvi, 1968 (1 letter): from Breuer

Cooke, Maymay (Mrs. Francis Cooke), 1947 (1 letter)

Coolidge, Frederic S. and Anne, 1947 (1 letter)

Cooper-Hewitt Museum of Design, 1975 (2 letters): from Breuer

Cooper Union, 1958 (2 letters)

Cooper, Wyatt Emory, undated (1 letter): mentions Eugene J. McCarthy

Corcoran, Kostelanetz, Gladstone & Lowell, 1959 (1 letter)

Cordos, Stephan, undated (1 letter)

Corkran, D. C. (Charles F. Orvis Company), 1944 (5 letters)

Cornigliano S.p.A. ("Società per Azioni"; limited company which installs exhibitions), 1958 (3 letters)

Corson, Richard A., 1950 (1 letter)

Coulson, Anthony J., 1975 (1 letter): from Breuer

County Roofing Company, 1957 (1 letter)

Crampton, Nancy (photographer), 1975 (1 letter)

Creighton, Thomas H., 1950 (1 letter): written with Katherine Morrow Ford

Crohn, Norma and Richard, 1968 (1 letter)

Croll, Jean, 1939 (1 letter)

Cromley, Don, 1968 (1 letter): from Breuer

Crotin, 1934-1935 (5 letters)

Crowther, J. G. (author) and Fransiska, 1936 (2 letters)

Csernyei, Zsuszi, 1939 (1 letter)

Cuevas de Vera, Adela ("Tota"), 1933-1934 (7 letters)

Cunningham, Allen, 1957 (1 letter)

Currie, Leonard (architect), undated and 1944-1978 (29 letters): see Architectural Forum

F. B. Curry Company (Frank B. Curry), 1945 (3 letters)

Cushing, Tom, 1937 (3 letters)

Cutler Farm (Lily C. Johanson), 1951 (1 letter)

Cutler, Robert W., 1968 (1 letter)

Czike, Dr. Gyuláné, 1957 (3 letters)

Dach, Joseph, 1944 (1 letter)

Daidone, Anthony J., 1958 (1 letter)

Damora, Robert (photographer), 1955-1967 (3 letters)

D'Andrea Brothers, Inc., 1957 (1 letter)

Bernard Danenberg Galleries, 1974-1975 (3 letters): from Breuer

Danielsson, Lars (Swedish architect), 1956 (3 letters)

D'Arcy, Frank (architect), 1957 (1 letter)

Dauber, Deanna L., 1975 (2 letters)

Daurel, Paul (architect), 1970 (1 letter)

Davenport, Keith H., 1946 (1 letter)

Daves, L. Joan, 1951 (1 letter)

Davis, Arthur, 1946 (1 letter): from Breuer

Davis, Brody, Chermayeff, Geismar, deHarak, Associates, 1969 (2 letters)

Davis, Columbus, 1946 (1 letter)

Davis, Paul (photographer), 1955 (1 letter): from Breuer

de Bever, Leo J., 1958-1960 (2 letters)

de Bodard, Connie, 1956 (1 letter)

De Carli, Carlo (Politecnico Milano), 1968 (1 letter)

Decima Triennale di Milano, 1954 (1 letter)

Decker, H. Carlton (architect), 1968 (1 letter): concerns Interama

DeCoene, Pierre, 1966-1968 (2 letters)

Dedet, Dr. Jacques (and Mme. Georges Cexier, Mme. Pierre

Dedet, Mme. André Laurenti), undated (1 letter)

De Hausner, Mrs. Djin Lilli S., undated and 1935-1936 (11 letters)

Deimel, Klöckner, Koebel, 1959 (1 letter)

Del Buttero Enzo (Vetro Italiano di Sicurezza [VIS], Milan), 1959 (1 letter)

De Leu Dulles, Mrs. J., undated (1 letter)

Delft Student Debating Society "Vrije Studie," 1957-1958 (6 letters)

DeMars, Vernon (DeMars and Wells), 1967 (1 letter)

Democratic National Committee, 1960 (1 letter)

De Rivera, José, 1946 (1 letter)

Derome, Leon, 1953 (1 letter)

Deschamps, Julio, 1950 (1 letter): includes 4 photographs of a house under construction

design magazine, 1975 (1 letter): from Breuer's office

Design Quarterly, 1976 (1 letter): from Breuer's office

Design Research, 1965 (2 letters)

de Spirlet, André (Cie. Belge de Chemins de Fer et d'Enterprises), 1963 (1 letter)

Dévényi, Iván, undated (1 letter)

De Vries & Company, 1953 (1 letter)

de Waldner, C. (IBM, France), 1970 (1 letter)

Dewey [Thomas E. Dewey], Ballantine, Bushby, Palmer & Wood, 1955-1969 (5 letters)

de Zwart, J., 1957 (1 letter): from Breuer

d'Harnoncourt, René, 1950-1951 (3 letters): see Project File for UNESCO

Diamant-Berger, Renée, 1954 (2 letters): from Evelyn Rocourt

Dicke, Hendrik Adolph (civil engineer), 1976 (1 death announcement)

Dickey, Thomas A., 1954 (1 letter)

Eugene Dietzgen Company, 1956 (1 letter): from Breuer's office

Dodd, Betty, undated (1 letter)

Dodd, Mead & Company (Edward Dodd), 1949-1960 (33 letters)

Doerr, Harold J. (interior decorating), 1975 (1 letter)

Doherty, Neil (photographer), 1974 (1 letter): from Breuer's office

Domela, Cesar (Dutch artist who worked at the Bauhaus), 1961 (2 letters)

Dominick & Dominick, 1936 (1 letter)

Domus magazine, 1947 (1 letter)

Dorner, Alexander (Brown University), 1947 (1 letter)

Drabkin, Murray (Kaler, Worsley, Daniel & Hollman), 1970-1978 (10 letters)

Dreier, Theodore and Barbara, 1956 (1 letter)

Drew, Jane B. (Fry, Drew, Drake & Lasdun), 1958 (1 letter)

Dreyer-Dufer, B., 1953 (1 letter)

Duane, Duane & Cahill, Architects (Franklin J. Duane), 1969 (1 letter)

Fred S. Dubin Associates, 1954-1958 (12 letters): 9 letters from Breuer's office

Dubsky, Caroline (Svoboda & Company), 1968 (1 letter)

Dufau, Pierre, 1963 (2 letters): from Breuer

Duhart, Emile and Raquel, undated (1 illustrated Christmas card)

Dunkel, E., 1934 (1 letter)

Dunn, Frederick, 1955 (1 letter): from Marvin Halverson concerning Commission on Architecture meeting

Dunning, James O., 1969 (1 letter)

DuPont, Henry B., 1958 (1 letter): from Rufus Stillman

Eastern Schokbeton Corporation, 1969 (1 letter)

Edwards, David J. (Georgia Institute of Technology), 1951-1968 (2 letters): see Project File for UNESCO

Egender, Karl, 1947 (1 letter)

Eggington, Geoff, 1968 (1 letter): from Breuer

Eken, Andrew J. (Starrett Brothers and Eken, Inc.), 1952 (1 letter): from Sherley W. Morgan, Princeton University; see Project File for UNESCO

Eldredge, Joseph L., 1948 (1 letter)

Electric Arts Intermix, Inc., 1974 (1 letter): from Breuer's office

Elkington, Robert (architect), 1968 (1 letter)

Elliott, Edward Proctor, 1945 (calling card)

Ellis, W. A., 1936 (1 letter)

Ellwood, Craig, 1966 (1 letter)

Elsbree, E., 1947 (1 letter)

Elsner, Werner, 1968 (1 letter)

Elte, Hans (School of Architecture, University of Toronto), 1950 (2 letters)

Elzas, A. (architect) and Hermine, 1956-1978 (18 letters)

Embru-Werken, 1950 (2 letters)

Emery, P., 1947 (1 letter)

Emslie, Murray Sims, 1954-1964 (20 letters): see Project File for UNESCO

Encyclopaedia Britannica, 1951-1964 (3 letters)

Engel de Janosi, Karl, 1950 (1 letter)

English-Speaking Union, 1951 (1 invitation): to reception in honor of Gerald Barry

Entenza, John D. (Graham Foundation for Advanced Studies in the Fine Arts), 1968 (1 letter)

Epler, Robert E., 1966 (1 letter)

Escoffier, Pierre, 1963 (1 letter)

Escrito Trading Post, New Mexico, 1950 (1 letter): from Breuer's office

European Investment Bank, Luxembourg, 1974-1978 (5 letters): 3 letters from Breuer

Evans, T. Randall (Yorke Rosenberg Mardall, Architects), undated and 1947-1965 (3 letters)

Eyquem, Danielle, 1956 (3 letters)

Fairweather, W. Ross, 1958 (1 letter)

Farkas, Nicholas (Farkas & Barron, consulting engineers), 1955-1969 (3 letters)

Farnsworth, S. W. (Torrington Manufacturing Company), 1956 (1 letter)

Farris, Mary E. (Breuer's secretary), 1964-1968 (13 letters)

Faudon, M. J. (European Investment Bank, Luxembourg), 1974-1975 (4 letters): from Breuer

Fédération Internationale du Film d'Art (FIFA), 1956 (1 letter)

Fehér, Nicolaus, 1966-1967 (4 letters)

Fejér, George (Selection Engineering Company, Ltd.), 1946-1947 (2 letters)

Ferguson, E. S., 1946 (1 letter)

Ferry, W. Hawkins, 1963 (1 letter)

Ficks Reed Furniture Company, 1951 (1 letter)

Fifth Avenue Association, Inc., 1968 (2 letters)

Finger, Sally L. (Mrs. W. L. Finger), 1950 (2 letters)

Finn, Herman L. (Abbe & Finn), 1960 (1 letter): from Breuer

Finn, Michael (from Breuer's office), 1972 (3 letters)

Finsler, Hans (photographer), 1936-1937 (3 letters)

Fintel, Nat, 1976 (1 letter)

Fiocchi, Annibale (architect), 1955 (1 letter)

Firma l.u.c. arnold, 1934 (1 letter)

Firmage, Margaret ("Peg"; Mrs. Charles Firmage; Breuer's secretary), 1947-1964 (48 letters)

First Hanover Corporation, 1967 (1 letter)

Fischer, Edward L., 1943 (1 letter)

Fischer, Eta, 1956 (1 letter): from Breuer

Fischer, John, 1956-1957 (2 letters): from Breuer's office

Fischer, Joseph (Hungarian architect), undated and 1923-1966 (17 letters)

Fischer, Margrit (Mrs. Edward L.; sculptor at Bauhaus), undated and 1934-1950 (5 letters)

Fitzgibbons, Frank, 1968 (1 letter): from Breuer

Fitzhugh, Greene, 1946 (1 letter)

Fjödl, Fjeinrich, 1964 (1 letter)

Flansburgh, Earl F. (Earl F. Flansburgh and Associates), 1976 (1 letter): from Robert F. Gatje

Fletcher, Jean Bodman (architect), 1947 (1 letter)

Flick, Miriam Hilliard (formerly Miriam Flick White), 1950 (1 letter)

Flos, Merano, 1963 (1 letter)

Földes, Dr. István ("Pista"), 1933-1934 (7 letters)

Foote, Elliott and Caroline, 1960-1967 (4 letters)

Forbàt, Alfréd ("Fred"; Hungarian architect), 1938 (2 letters): see Congrès, Les Congrès Internationaux d'Architecture Moderne (CIAM)

Forberg, Kurt, 1975 (1 letter)

Forbes, E. W., undated (1 letter)

Forbes, Marla, 1939 (1 letter)

Forbes, R. E. and Pauline, undated (1 letter)

Ford, Katherine Morrow (Mrs. James Ford), 1950-1951 (2 letters): 1950 letter written with Thomas H. Creighton

Fornells-Pla, Francisco, 1969 (1 letter)

Forrest, Robert E. (Princeton University), 1952 (2 letters)

Forum of Contemporary Arts, 1958 (1 letter)

Foundation for the Arts and Humanities, 1967 (1 letter)

Foundation for the Arts, Religion and Culture, 1963-1965 (4 letters)

Fox, John P. (Murray Hill Assn., Inc.), 1949-1957 (2 letters)

Foyle, Christina, 1947 (1 letter)

France: French Embassy, Washington, D.C. (François De Laboulaye, ambassador), 1978 (1 invitation): to presentation of Médaille d'Or to Breuer

Frank, Oswald, 1947 (1 letter)

Frank, Mrs. Robert J., 1940 (1 letter)

Frantz, Al (Edward Gottlieb & Associates), 1958 (2 letters)

Franzen, Ulrich ("Rickey"; architect), 1956-1968 (2 letters)

Fratelli Salvadori, 1964 (1 letter)

Frazer, Peter M., 1950 (1 letter)

Freck, Byron, 1945 (1 letter)

Freeman, Elizabeth E. (Wellfleet Real Estate), 1947 (1 letter)

Freeth, Evelyn (Royal West of England Academy), 1958 (2 letters)

Frey, Emil (Motorfahrzeuge), 1956 (1 letter): from Breuer

Friedman, B. H. (Bob), 1970 (1 letter)

Friedrich, Clara, 1935 (1 letter)

Frost, Frederick G. (Frederick G. Frost Jr. & Associates, Architects), 1960 (1 letter)

Frost, Henry A. (Harvard University), 1947 (2 letters)

Fry, Louis Edwin (architect), 1945-1946 (3 letters)

Fry, Lynn W. (University of Michigan, Ann Arbor), 1951 (1 letter): see Project File for UNESCO

Fry, Maxwell, 1950 (1 letter): from Breuer

Fuenmayor, Ernesto (Centro Profesional del Este), 1960 (3 letters)

Fulde, Philip, 1965 (1 telegram): from Breuer

Fürbeth, Albrecht, 1974 (1 letter)

Gabetti, Gianluigi, 1969 (1 letter): from Breuer

Gabo, Naum, 1938 (2 letters)

Gábor, László ("Laci"; graphic designer for Kaufmann), undated and 1938 (3 letters)

Gagarin, Andrew (Torrington Manufacturing Company) and Jamie, 1953-1975 (15 letters)

Galhidy, László, undated and 1960-1963 (4 letters)

Gambaro, E. James (architect), 1968 (1 letter)

Gane, Crofton Endres, undated and 1945-1967 (25 letters)

Gantschi, Edith, 1934 (1 letter)

Gardella, Ignazio, 1950 (1 letter): from Breuer

Gardner-Medwin, R. J. (Liverpool School of Architecture), 1957-1959 (5 letters): see also Selwood, Christopher

Gargas, Klára, 1970 (3 letters)

Gastón, Miguel (Gastón y Dominguez, S.A.), 1950-1967 (6 letters): 1951 letter contains 2 floor plans and 7 photographs of Gastón's house

Gatje Papachristou & Smith, 1984-1985 (3 letters)

Gatje, Robert Frederick, undated and 1954-1982 (45 letters): see Project File for UNESCO

Gautschi, Dr. Georg, 1936 (1 letter)

Gavina, Dino (furniture manufacturer), 1962-1976 (111 letters)

Geberta, Victor F., undated (1 letter)

Geisler, Howard, 1968 (1 letter): from Breuer

Gelb, Mr., 1963 (1 letter): from Breuer's office

Gelland, Carolyn (Breuer's secretary), 1972-1974 (8 letters)

Geller, Bert and Phyllis, 1963-1968 (2 letters)

General Electric Appliances, Inc., 1947 (1 letter)

General Electric Company, 1943-1950 (6 letters)

General Fireproofing Company, 1943-1946 (4 letters)

Georges, Alexandre (photographer), 1974-1976 (2 letters): from Breuer's office

Geraghty, Margaret, 1960 (1 letter): from Breuer's office

Gerbman, Joyce, 1968 (1 letter): from Breuer

Giedion-Welcker, Sigfried and Carola, undated and 1932-1976 (62 letters): see Congrès Internationaux d'Architecture Moderne (CIAM; Chapter for Relief and Post-War Planning)

Girsberger, H., 1976 (1 letter): from Breuer

Glazier, Helen, 1946 (1 letter)

Gogolák, Ludwig, 1958 (1 letter)

Goldinger, Harry, 1946 (1 letter)

Goldings, Morris M. (Mahoney, McGrath, Atwood, Piper & Goldings), 1970 (1 letter)

Goldman, Paul (Plymold Corporation), 1945 (2 letters): from Breuer

Goldman Sokolow Copeland, 1984-1985 (3 letters)

Gömöri, Herman Iván, 1956-1957 (2 letters)

Goodman, Mrs. Alvin Malcolm, 1967 (1 letter): from Breuer

Goodman, Charles, 1946 (1 letter): from Breuer

Goodman, Percival, 1968 (1 letter)

B. F. Goodrich Company, 1965 (1 letter)

Goodwin, Philip L. (architect), 1947-1955 (3 letters): see Project File for UNESCO

Gores, Landis, 1947-1951 (2 letters): from Breuer

Gorlich Editore, 1957 (1 letter): from Breuer's office

Gorn, Samuel G. (Gorn Brothers, Inc.), 1956 (1 letter)

Gottscho-Schleisner (photographer), 1955-1956 (2 letters): from Breuer

Goudsmit, Alfred and Gertie, 1963-1970 (2 letters)

Gould, Eleanor J. (Mrs. J. Howard Gould), 1966 (1 letter)

Graber, Rudolf (Wohnbedarf furniture store), undated and 1938-1969 (21 letters): see Project File for UNESCO

Gramling, Hdikó, 1975 (1 letter)

Grand Coulee Dam Project, 1974-1975 (2 letters): from Breuer; see United States Department of the Interior, Bureau of Reclamation

Grant, Barbara, 1968 (1 letter): from Breuer

Grayboff, Ira, 1955 (2 letters)

Green, Lynda, 1968 (1 letter): from Breuer

Grefe, Richard (McDonald & Smart, Inc.), 1976 (1 letter): from Breuer

Grieco, Vito (Grieco Bros., Inc.), 1958-1959 (3 letters)

Griffis, Nixon (Hemphill, Noyes & Company), 1946 (1 letter)

Griffith, J. Neal, undated (1 letter)

Grimball, Henry G. (Harvard University), 1950 (1 letter)

Gropius, Walter ("Pius") and Ise ("Pia"), undated and 1933-1969 (120 letters): see Harvard University, Graduate School of Design; Project File for UNESCO

Grosse Pointe Public Library, 1960 (1 letter)

Grossi, Olindo (Architectural League of New York), 1957 (4 letters): see Pratt Institute; see Project File for UNESCO

Grosswirth, M. (New York University, College of Engineering), 1958 (1 letter)

Gröte, Dr. Andreas and Laura, 1961-1967 (3 letters)

Gröte, Ludwig and Gertrud Maud, 1956-1967 (5 letters)

Groupe Espace, 1952-1954 (5 letters)

Gruber, Gerd, 1965-1967 (2 letters)

Gruber, Richard D. (Independent Oil Company of Connecticut, Inc.), 1970 (1 letter)

Gruzen, Barney Sumner, 1956 (1 letter): from Breuer

Gstrein, Kassian, 1936 (1 letter)

Guenther, Carl Frederic, 1958 (1 letter)

Guerrero, Pedro E. (photographer), 1955 (1 letter): from Breuer

Solomon R. Guggenheim Museum, 1964 (1 letter): concerns the loan from Breuer of an Alexander Calder work

Guilford Leather Company, 1950 (1 letter): from Breuer

Gumbel, Robert W., 1950 (1 letter)

Gutheim, Polly (Mrs. Frederick A. Gutheim), 1946 (1 letter)

Haas, Robert (Ram Press), 1954-1957 (8 letters): from Breuer's office

Hächler, W. (architect), 1956 (1 letter): from Breuer

Hack, Lynda, 1968 (1 letter): from Breuer

Hackett, Gabriel D. (photographer), 1963 (1 letter)

Hackley Art Museum, 1977 (3 letters)

Hagenbach, Marguerite: see Arp, Hans Jean

Hagerty, Francis (Hagerty Company), 1945 (2 letters)

Hagerty, John, 1958 (1 letter)

Haggerty, Brian (Sacred Heart Seminary), 1964 (1 letter)

Hagmann, John S. (and Robert A. M. Stern), undated (1 letter)

Hagood, M. Lindsey (Virginia Polytechnic Institute, Architectural Speakers Committee), 1952 (3 letters)

Hahn, Alexander, 1957-1958 (2 letters)

Halász, Dezso (International Union of Local Authorities), 1957-1959 (3 letters)

Halász, Ferenc, 1959 (2 letters)

Halborg, Rev. John E. (Evangelical Lutheran Church of the Advent), 1968 (1 letter)

Hall, John Hughes (Nardin & Radoczy), 1956-1957 (2 letters)

Halprin, Lawrence, 1966-1970 (2 letters)

Halverson, Marvin (National Council of the Churches of Christ in the USA), 1955-1956 (4 letters)

Halvorson, Roy E., 1956-1971 (4 letters)

Hambuechen, Dr. Eva-Dorothee, 1937 (1 letter)

Hamer, R. D. (Aluminium Laboratories Ltd.), 1946 (1 letter)

Hammett, Ralph W., 1975 (1 letter): from Breuer's office

Hancy, L., 1975 (1 letter): from Breuer's office

Hansen, Thomas L. (University of Colorado, Boulder), 1956 (1 letter)

Hanson, B. (Mrs. John Hanson), 1955-1967 (3 letters)

Haraszty, Eszter, undated and 1956 (2 letters)

Harbert, Guido, 1950 (1 letter)

Hardoy, Jorge Ferrari (architect), 1965 (1 letter)

Hardy, Holzmann, Pfeiffer (Christine Donovan), 1974 (1 letter): from Breuer's office

Harkness, Elaine, 1960 (2 letters)

Harnischmacher, Paul and Marianne, undated and 1933-1964 (41 letters)

Harper's Bazaar, 1954-1955 (4 letters)

Harris, James L., 1946 (1 letter)

Harris, S. I. (Keasbey & Mattison Company), 1956 (1 letter)

Harrison, Wallace K. (architect) and Ellen, 1937-1956 (3 letters)

Hars, Anthony, 1964 (1 letter)

Hartgen, Vincent A. (University of Maine, Orono), 1956-1957 (4 letters)

Hartung, Herrn Dipl. Eng. (Staatshochbauamt Dusseldorf), 1976 (1 letter): from Breuer

Harvard Club of New Canaan, Connecticut, 1951 (1 letter)

Harvard Club of New York City, 1946-1950 (6 letters)

Harvard University, Carpenter Center for the Visual Arts, 1966-1970 (10 letters)

Harvard University, Graduate School of Design, 1938-1953 (49 letters)

Harvard University Society of Fellows, 1967-1970 (5 letters)

Harvard-Yenching Library, 1954 (1 letter)

Haskell, Douglas (architect; Architectural Forum), 1958 (1 letter)

Hassenpflug, Gustav (architect), undated and 1933-1955 (20 letters)

Hatje, Gerd (Verlag Gerd Hatje GMBH), 1955-1964 (111 letters): see Kaspar, Karl

Hauf, Harold D. (Edwards Street Laboratory, Yale University) and Dorothy, 1951-1954 (3 letters): see Project File for UNESCO

Haughwout, John L., 1950 (1 letter)

Havinden, Ashley, 1969 (2 letters)

Hayes, Mrs. Alfred Hayes, undated (2 letters)

Hayes, Bartlett H. (Addison Gallery of American Art), 1955 (2 letters)

Hayes, Peggy, 1963 (1 letter)

Hayes, Thom, 1968 (1 letter): from Breuer

Hayoz, Marcel, 1957 (2 letters)

Headquarters First Service Command, 1945 (1 letter)

Healy, Estelle, undated (1 letter)

Hebert, Elmer T., 1951-1974 (3 letters): from Breuer

Heckscher, August, undated and 1962-1970

Hedrich, E. (Hedrich-Blessing Photographers), 1967-1975 (2 letters)

Heinz, H. J. and Drue Maher, undated and 1954 (3 letters)

Heiser, Bruce, 1950 (1 invitation): for luncheon honoring Heiser

Helsel, Marjorie (M. Helsel Interiors), 1966 (1 letter)

Helseth, Glenn, undated (1 letter)

Henderson, Priscilla A. B., 1954 (1 letter)

Hendry, Charles E. ("Chick"; University of Tornoto), 1950 (2 letters): see Commission on Community Interrelations (CCI) of the American Jewish Congress

Henin, Mme. S., 1956 (2 letters)

Henze, Wilfried, 1964 (1 letter)

Herbe, Paul (architect), 1963 (1 letter)

Herford, Julius G., 1945 (1 letter)

Herman, Harold M., undated (1 letter)

Hermanson, Ray T. (Trynor & Hermanson, Architects), 1957 (1 letter)

Herrera, Alberto Rodriguez (El Recreo, Centro Profesional del Este), 1960 (1 letter): from Breuer's office

Herrey, Hermann (architect), 1946-1947 (3 letters)

Herter, Susan and Chris, undated (1 letter)

Hertner, W. (architect), 1939 (1 letter)

Hertzell, Tage (Meningsblad for Unge Arkitekter), 1956 (1 letter)

Hervé, Lucien, 1960 (4 letters): see Project File for UNESCO

Herz, Alexandra, 1965-1967 (2 letters)

Hess, Orvan W., 1976 (1 letter)

Hester, James M. (New York University, Washington Square), 1963-1970 (2 letters)

Hetényi, George, 1954 (1 letter)

Heyer, Paul O., 1965-1970 (11 letters)

Heyman, Marla, undated (1 letter)

Heywood-Wakefield Company (Mr. Greenwood, Mr. Paul Posser), 1944 (6 letters)

Higgins, Ambrose S. (architect), 1947 (1 letter)

Hill, Albert Henry, 1950-1951 (2 letters)

Hill and Knowlton, Inc., 1974 (1 letter): from Breuer's office

Hill, Henry and Heather, 1950-1964 (7 letters): see Project File for UNESCO

Hirschfeld, Ludwig, undated and 1935-1963 (18 letters)

Hirshhorn Museum and Sculpture Garden, 1975 (2 letters): from Breuer

Hitchcock, Henry-Russell, Jr., 1937-1938 (4 letters)

Hobart Manufacturing Company (KitchenAid Home Dishwasher Division), 1950 (1 letter): from Breuer's office

Hockaday Associates, Inc., 1954 (2 letters)

Hödl, Heinrich, 1964 (1 letter)

Hoffman, Mildred, 1966 (1 letter)

Hoffman, Tom, 1968 (1 letter): from Breuer

Hoffmann, Alfred, 1938 (1 letter)

Hofmann, Hans (from Weimar), 1947 (1 letter)

Julius Hoffmann Verlag Stuttgart, 1955-1961 (2 letters): see Project File for UNESCO

Hoffmeyer, Ted (Marcel Breuer and Associates field office), 1963-1970 (3 letters)

Hogan, P. A., 1975 (1 letter): from Breuer's office

Holden, Thomas S. (F. W. Dodge Corporation), 1954-1958 (3 letters)

Holland Shade Company, 1950 (1 letter): from Breuer's office

Holzmann, Philipp, 1975-1977 (2 letters)

Hooper, Edith Ferry, undated and 1963 (2 letters)

Hooper, Elizabeth, 1969 (1 letter)

Hooykaas, J. A. (Nederlandse Natuursteen Importeurs), 1957 (1 letter)

Hopfe, Charles T. (Hop-Mac, Inc.), 1974 (1 letter): from Breuer's office

Horizon, 1970 (1 letter)

Hosei University, 1954 (1 letter)

House & Garden -- , 1970 (1 letter)

House and Home magazine, 1954 (1 letter)

Housing and Urban Development (HUD), Department of, 1968 (1 invitation): to dedication

Houston, University of, Architectural Society, 1953-1955 (4 letters)

Edward F. Howard Company, 1956 (1 letter)

Howard, Herbert Seymour, 1946 (1 letter)

Howe, George (Yale University), 1951 (1 letter): from Breuer

Howland, Mrs. John, 1957 (1 letter): from Breuer's office

Hsin-Yieh Architects & Associates, undated (1 letter)

Hu, Kuang-Yu, 1947 (1 letter): from Breuer

Huber, Karl, 1950 (1 letter): from Breuer

Hudnut, Joseph ("Vi"; Harvard University) and Claire, undated and 1946-1947 (3 letters): see American Society of Planners and Architects (ASPA); Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning; Harvard University, Graduate School of Design

Hug, Hattula Moholy-Nagy (daughter of László Moholy-Nagy), 1976 (1 letter)

Hughes, Ella C., 1937 (1 letter)

Hughes, Jennifer, 1964 (2 letters)

Hughes, K. E., undated (1 letter)

Hultberg, Hilary (Rudi Blesh's daughter ?), 1957 (3 letters)

Hungarian Alumni Association, undated (1 letter): includes a hand-drawn map, 8 photographs of Hungarian cityscapes, 4 photographs of city views, and a drawing of the facade of a building

Hunter, Louise, 1947 (1 letter)

Hurley, Jane C., 1947 (1 letter): from Breuer

Hurwitz, Joe, 1968 (1 letter): from Breuer

Hutchhausen, Walther, 1937 (1 letter)

Hutchins, John Jay (Law Offices of S. G. Archibald), 1963-1969 (14 letters): see Project File for UNESCO

Hutton: E. F. Hutton Company, 1946-1951 (7 letters)

Huygens, W., 1957 (1 letter)

Ichban [?], Hans ("Zero"), undated and 1939 (2 letters)

Ikuta, Tsutomu, 1951 (1 letter)

Illinois, University of, Chapter of AIA, 1959 (2 letters)

Illinois, University of, Urbana, 1957-1964 (4 letters)

Ilmanen, J. William, 1955-1956 (2 letters)

Immanuel, M., 1946 (2 letters)

India, ambassador from, 1965 (1 invitation): to Nehru

N.V. Induventa, 1935 (1 letter)

Ingrand, Max, undated (2 letters)

Institute der Schwestern, Baldegg, Switzerland, 1970-1975 (5 letters): 4 from Breuer

Institute for Advanced Study, Princeton University, 1970 (1 letter)

Institute of Contemporary Art, 1954-1956 (3 letters): see Project File for UNESCO

Institute of Contemporary Art, Department of Design in Industry, 1951 (3 notices of meetings)

Institute of Design, Illinois Institute of Technology, 1953-1959 (6 letters)

Institute of International Education, 1960-1961 (4 letters)

Instituto Internazionale di Arte Liturgica, 1970 (1 letter)

Interiors Incorporated, 1975 (1 letter): from Breuer

Interiors International, 1963 (4 letters)

Interiors magazine, 1950 (1 letter)

International Bank for Reconstruction and Development, 1975 (1 letter): from Breuer

International Business Machines Corporation (IBM), 1963-1974 (4 letters): 2 from Breuer

International Business Machines (IBM) Deutschland, 1970 (1 letter)

International Congress for Engineering Education, 1947 (2 letters)

International Congress for Modern Architecture: see Congrès Internationaux d'Architecture Moderne (CIAM)

International Contract Furnishings, Inc., 1975 (1 letter): from Breuer

International Design Conference, Aspen, Colorado, 1953-1955 (4 letters)

International Lighting Review, 1961 (1 letter)

International Rescue Committee, Inc., undated (1 letter)

Iowa State College, 1960 (1 letter): see Myers, John S.

Iran, empress of, 1975 (1 letter): from Breuer

Irving & Casson/A. H. Davenport Company, 1945 (1 letter): see Commission on Community Interrelations (CCI)

Irving, Michael H. (Irving and Jacob), undated and 1968-1971 (4 letters)

Isokon (Lawn Road) Limited, 1936-1966 (2 letters)

Istituto Italiano di Cultura, 1967 (1 letter)

Jackson, Huson (Plan-Tech Associates), 1945-1958 (3 letters)

Jacobs, Robert Allan (Kahn & Jacobs), 1958 (2 letters)

Jacobson, Egbert (Container Corporation of America), 1950 (1 letter)

Janis Gallery (Sidney Janis), 1955-1970 (2 letters): concerning Josef Albers exhibition

Japan Architect Company, Ltd., 1977 (2 letters)

Japan House Gallery, 1975 (1 letter): from Breuer

Japan Society, Inc., 1964-1975 (3 letters)

Jaredat, Nizar and Ellen, 1946-1958 (4 letters)

Jaritz, András, 1934 (1 letter)

Jarrell, Katherine O., 1960 (2 letters)

Jefferson Foundation Medal in Architecture, 1968 (1 letter)

G. A. Jellicoe & Partners, Architects, undated (1 letter)

Georg Jensen, Inc., 1946-1947 (4 letters)

Jewish Community Center of Cleveland, 1965 (3 letters)

Jobco Incorporated, 1980 (1 letter): from Herbert Beckhard

Johansen, John MacL.("Jo") and Mary Ellen, undated and 1947-1970 (7 letters)

Johns Hopkins University, 1981 (2 letters)

Johnson, Dan Rhodes, 1965 (1 letter)

Johnson, Frances, 1950-1951 (2 letters): from Breuer

Johnson, Lyndon Baines, 1965 (1 invitation): to presidential inauguration

Johnson, Marian Willard: see Willard, Marian G.

Johnson, Philip (architect), 1945-1948 (10 letters): 4 letters from Breuer: see Project File for UNESCO

Johnson, Reid B., 1964 (1 letter)

Johnstone, William (Colorado Springs Fine Arts Center), 1949 (1 letter)

Joly, Pierre (photographer), 1975 (1 letter): from Breuer's office

Jomain, Pierre, 1960 (1 letter)

Jones, Adolph (U.S. Embassy, The Hague), 1956 (1 letter): from Breuer

Jones, Cranston and Jean, 1958-1966 (10 letters)

Jones, Cyrus C., 1945 (1 letter): from Breuer

Jones, Douglas (University of Bristol, U.K.), 1967 (1 letter)

Jones, Noel W. (district engineer, OCS), 1968 (1 letter)

Jones, Paul K. (mayor of Shaker Heights, Ohio), 1970 (1 letter)

Jones, Theodore S. (Institute of Contemporary Art), 1950-1951 (2 letters)

Joraschek, Josef (architect), 1965 (1 letter)

Jordi, Beat, 1970-1976 (13 letters): 12 from Breuer

Jordy, William H. (Yale University), 1951 (2 letters)

Jossa, Mario, 1966-1976 (37 letters): 28 from Breuer

Joyce, Nora, 1934 (1 letter)

Junyer, Joan [?]1961 (1 letter)

Kacmarcik, Frank, 1968 (1 letter): from Breuer

Kaffka, Péter (C. E. Pratt & Péter Kaffka, Architects), 1950 (1 letter)

Kahlen, Wolfgang, 1965 (1 letter)

Kahn, Hugo, 1968 (1 letter)

Kahn, Louis I. (Oscar Stonorov and Louis I. Kahn Associated Architects), 1945-1966 (5 letters): see American Society of Planners and Architects (ASPA)

Kalmai, K., 1924 (1 letter)

Kálmán, Timon, 1967 (2 letters)

Kalnay, Ferenc, 1938 (1 letter)

Kamer, Henri A. (Kamer, Inc.), 1964-1966 (2 letters)

Kamphoefner, Henry L. (School of Design, North Carolina State College), 1951-1954 (6 letters)

Kandinsky, Lina, 1969-1976 (mentioned in 2 letters from Constance Breuer)

Kane, Ervin (Viewtone Television), 1946 (2 letters)

Kaneko, Masanori (Kagawa Prefectural Government, Japan), 1970 (1 letter)

Kann, Henry Robert, 1951 (1 letter)

Karajabey, Ayla, 1966 (telegram from Breuer)

Karlock, Michael (Benton & Bowles), 1946 (1 letter): from Breuer

Karsten, Thomas and Marilyn (American Trading Company), 1963-1975 (8 letters)

Kaspar, Karl (Verlag Gerd Hatje GMBH), 1955 (2 letters)

Kass, Gertrud [?], 1939 (1 letter)

Katsuyama, S., undated (1 letter)

Kaufman, Stanley Lloyd, 1950 (1 letter): see Project File for UNESCO

Kaufmann, Edgar J. (Kaufmann Department Store), 1954-1963 (2 letters)

Kazi, Abdul-Rassak, 1966 (2 letters)

Kazin, Alfred, 1971 (1 letter)

W. R. Keating & Company, 1962 (1 letter): concerns shipment of Alexander Calder sculpture

Keller, Dieter, 1965 (2 letters)

Kelly, John Terence (architect), 1964 (1 letter)

Kelly, Virginia Whitmore, 1949 (1 letter)

Kennedy, Edith (Robert Woods Kennedy's mother), 1939 (1 letter)

Kennedy, John Fitzgerald, 1961-1963 (3 letters): from the White House

Kennedy, Robert Woods (first architect in Gropius-Breuer office, Cambridge, Massachusetts), undated and 1950 (3 letters): see American Society of Planners and Architects (ASPA)

Kennerly, Albert (Kennerly Construction Company, Inc.), 1947 (1 letter)

Keogh, Eugene J. (Halpin, Keogh & St. John), 1970 (1 letter)

Kepes, György (architect) and Juliet, undated and 1924-1978 (29 letters)

Kertész, André, 1968 (1 letter): from Breuer

Kertész, Gyula, 1938 (1 letter)

Kessler-Gallacher & Burton, Seagram-Distillers Corporation, 1954-1963 (5 letters)

Ketchum, Morris (Ketchum, Gina & Sharp, Architects), 1957-1963 (25 letters)

Ketchum, Phillips (Ketchum Building Corporation), 1967 (4 letters)

Keyser, William, 1964 (1 letter): from Breuer's office

Kida, Miho, 1975 (2 letters)

Kiley, Dan, 1955 (1 letter)

Kilham, Walter H. (R. B. O'Connor and W. H. Kilham, Architects), 1951-1960 (2 letters)

Kimura, Akira, 1965 (1 letter): includes photograph of family E. & F. King & Company, 1946 (2 letters)

King, Helen (William Morrow & Company, Inc., Publishers), 1951 (1 letter)

Kipnis, Leonid (Leonid Kipnis Gallery), 1954 (1 letter)

Kirkconnell, Watson, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Kirkconnell, and Hans Selye

Kistler, Daniel, undated and 1964 (2 letters)

Kivett & Myers & McCallum (Architects - Engineers), undated (1 letter)

Kleyer, Bertel and Erwin Kleyer, 1946-1954 (10 letters)

Klöckner (Deimel, Klöckner, Koebel), 1959 (1 letter)

Kniffin, Ogden ("Nif"; inventor of Colorforms) and Kitty, 1950-1960 (5 letters): 3 from Breuer

Knoll, Hans G. and Florence (H. G. Knoll Associates, Inc.), undated and 1945-1961 (12 letters); see Project File for UNESCO

Knoll International, Inc., 1971-1977 (7 letters): see Vidal, Yves

Knox, Sanka (New York Times), 1960 (1 letter): from Breuer's office

Kobler, John (Saturday Evening Post), 1959 (1 letter)

Koch, Alexander, 1948-1961 (2 letters)

Koerfer, Jacques and Christina, undated and 1964-1977 (18 letters)

Kolozsváry-Kiss, árpád, 1957 (2 letters)

Kondor, E. ("Pista"), 1937 (1 letter)

König, Dr. Heinrich, 1954-1959 (3 letters)

Konwiser, Inc., 1954 (1 letter): from Breuer's office

Kootz, Samuel B. (Kootz Art Gallery), 1954-1956 (2 letters)

Koran, Spencer, 1974-1975 (4 letters): from Breuer's office

Korn, Arthur (Architectural Association School of Architecture), 1947-1956 (2 letters)

Kornfeld, Albert, 1956 (1 letter)

Kortan, Enis (Turkish architect), 1956-1960 (3 letters)

Koudela, E. Hugi (Deeter Ritchey Sippel), 1968 (1 letter)

Koyama, Shin (photographer), 1974 (1 letter): from Breuer's office

Kósa, Zoltán, 1962 (1 letter)

Kozlowski, Jean Paul and Shirley, 1960-1972 (2 letters)

Kraemer, Friedrich Wilhelm (architect), 1955 (1 letter)

Kramer, Edwin R., 1950 (1 letter): from Breuer

Krausz, László, 1957-1968 (2 letters)

Krivátsky-Szüts, ádám (Hungarian architect), 1960 (1 letter)

Kri anac, Dr. Matko, 1974 (1 letter)

Ku, Danna Morison, 1968 (1 letter): from Breuer

Kuenzle, Creed (Swiss architect), 1959 (1 letter)

Kuh, Katharine (Art Institute of Chicago), undated and 1951 (2 letters)

Kulkarni, Ashok, 1968 (1 letter): from Breuer

Keith R. Kunhardt Associates, Inc., 1966 (1 letter)

Kunst Kabinett Klihm, Munich, 1956 (1 letter)

Kuwayama, A. (Kuwayama & Company, Inc.), 1945 (1 letter)

Laaff, George, 1960 (1 letter): from Breuer's office

Laboratoires Sarget, 1970 (1 letter)

Lacey, Joseph (Eero Saarinen Associates), 1957 (2 letters)

Ladd, Fred, 1965 (1 letter)

LaFarge, Bancel: see American Institute of Architects

La Joie Par Les Livres, 1964 (1 letter)

Lalonde, Gisele and Jean-Louis, undated and 1955 (2 letters)

Laminated Veneers, Inc., 1948 (2 letters)

Lamson, Jarvis (Functional Furniture, Inc.), 1947-1948 (9 letters): see Noyes, Eliot

Landram, Fred, 1947 (1 letter)

M. Landsberg Stationery Company, 1960 (1 letter): from Breuer's office

Landsberg, William W., 1953-1959 (5 letters)

Lang, George E. (Restaurant & Waldorf Associates, Inc.), 1967-1968 (2 letters)

Lányi, George, 1939-1946 (2 letters)

L'Architecture d'Aujourd'hui, 1954 (3 letters)

La Rinascente Compasso d'Oro, 1955-1965 (43 letters)

Larson, Else M. (Mrs. Arthur W. Larson), 1963 (2 letters)

Laseau, Paul, 1968 (1 letter): from Breuer

László, Carl, 1964 (1 letter)

Lauck, Peter (Morton Sundour Company, Inc.), 1950 (1 letter)

Lauper, Peter (Fraser's), 1955 (1 letter)

Laurenti, André, 1959-1968 (8 letters)

Lautman, Robert C. (photographer), 1973 (1 letter): from Herbert Beckhard

La Verne Originals, 1947 (1 letter): from Breuer

Lavigueur, Gilles (architect), 1967 (1 letter): includes 2 photographs of a chair

Lawrence, John W. (Tulane University), 1953 (1 letter)

Le Corbusier, 1957 (1 letter): from Walter Gropius to friends concerning Le Corbusier's 70th birthday; see also Project File for UNESCO

Lee, Duk, 1968 (1 letter): from Breuer

Lee, Richard C. (mayor of New Haven), 1964 (1 letter): from Breuer

Al Paul Lefton Company, Inc., Advertising, 1949-1950 (2 letters)

Lehigh Furniture Corporation, 1951 (1 letter)

Leibowitz, Matthew, 1946 (1 letter)

Leight, Lillian, 1972 (1 letter)

Leighton, O. S., 1946-1951 (11 letters)

Lemm, H. J. , undated (1 letter)

Lennon, Jacques E., 1975 (1 letter)

Leontieff, Wassily, 1947 (1 letter)

Lercaro, His Eminence Jacques Cardinal, 1969-1970 (2 letters)

Lescaze, William (architect), 1954 (1 letter)

Lever, Lance, 1966 (1 letter)

Levin, Arnold B., 1954 (1 letter)

Levine, Leon, 1971 (1 letter)

Lévy, Vilmos (Hungarian sculptor), undated and 1938 (2 letters)

Lewin, Kurt and G., 1944-1947 (4 letters)

Lewis, George Sherman (architect), 1946-1954 (4 letters): see Project File for UNESCO

Li, Ying, 1947 (1 letter)

Liberman, Tatiana and Alexander, 1969 (1 invitation): for cocktails with Helen Frankenthaler Librairie d'Art Ancien et Moderne, 1962-1963 (2 letters)

Librairie Ernest Flammarion, 1975 (1 letter): from Breuer's office

Lili, S. Braun, 1936-1939 (8 letters)

Lilinthal, Benjamin, 1956 (1 letter)

Limbach, Scott (Limbach Company), 1976 (1 letter): from Breuer's office

Lincoln Warehouse Corporation, 1951 (1 letter)

Lindsay, John V. (mayor of New York) and Mary, 1967-1969 (5 letters)

L'Industria Italiana del Cemento, 1975 (2 letters)

Linke, Siegfried, 1968 (1 letter): from Breuer

Lionni, Leonardo and Nora, 1962 (1 letter): see also International Design Conference, Aspen

Littke, George, 1950 (1 letter)

Liverant, Mrs. M. J., 1960 (1 letter)

Lloyd, Eleanor B. (Mrs. H. Gates Lloyd), 1959 (1 letter)

Lloyd, Miss M. E., 1939 (1 letter)

Lobell, Mimi, 1968 (1 letter): from Breuer

L'Oeil, 1974-1975 (2 letters): from Breuer

Lohse, Richard P. (editor, Bauen + Wohnen), 1950 (1 letter)

Lombard, M. A. (M. A. Lombard & Son, Company, General Contractors), 1966 (1 letter)

Long Beach Art Association, Inc., 1954 (1 letter)

Longmans, Green & Company, Ltd., 1958 (1 letter)

Lortz, R., 1946 (1 letter): from Breuer

Louisiana State University, Department of Architecture, 1964 (1 letter)

Lubroth, I. (Lubroth y Henriquez, Estudio de Arquitectura), 1975 (1 letter)

Ludolf, H. G., 1933-1934 (2 letters)

Lundy, Victor A., 1950-1951 (3 letters)

Lunning, Just, 1956 (1 letter)

Lurie, H. Lee, 1946-1947 (4 letters): see Project File for UNESCO

Lutz, Pierre, 1961-1968 (2 letters): from Breuer Lydakis, George (Precision Metal Model Corporation), 1950-1955 (2 letters)

Lydon, Ken, 1972 (1 letter)

Lyles, Bissett, Carlisle & Wolff, 1955 (2 letters)

Lyman, Bill, 1946 (3 letters)

Lyn, Robert J., 1951 (2 letters)

Lyndon, Maynard (architect), 1965 (1 letter)

Maas, Carl ("Happy"/"Hap"; editor, House Beautiful), 1937-1946 (6 letters)

Maas, Walter, 1947 (1 letter): from Breuer

Macomber, George A. (Cambridge Trust Company), 1947 (2 letters)

Madison, Bob, 1951 (1 letter)

I. Magnin, San Francisco, 1961 (1 letter): from Breuer's office

Magyar Album, 1956 (1 letter)

Magyar épitomuvészek Szövetsége magazine, 1956-1977 (4 letters)

Maki, Fumihiko (Harvard University), 1963 (1 letter) George E. Mallison Importing Company, 1950-1955 (2 letters)

Manders, Dave, 1968 (1 letter): from Breuer

Mandl, Zoltán, 1939 (1 letter)

Manfred, Ernest F., 1966 (1 letter)

Mang, Karl (architect), 1967 (1 letter)

Manitoba, University of, Students' Architectural Society, 1953 (1 letter)

Mantel, H. J., 1951 (1 letter)

Manton, Mr. and Mrs. John, 1967 (1 letter): from Breuer's office

Marbleloid, Inc., 1946 (1 letter)

Marine-Air-Research Corporation, 1946 (1 letter): from Breuer

Maroy, Jean-Paul, 1981 (1 letter): from Robert F. Gatje William L. Marshall, Ltd., 1944-1947 (8 letters)

Marson, Bernard A. (architect), 1968 (1 letter)

Marston, Natalie (Institute of Contemporary Art), 1951 (1 letter)

Martens, Michel (Hedendaagse Kerkelijke Kunst), 1956-1957 (2 letters)

Martignetti, Antonio, 1956 (1 letter)

Martin, J. L. (architect), 1938 (1 letter)

Martin, Leslie and Sadie, undated and 1954 (3 letters)

Mary College and the Annunciation Priory, 1963-1976 (6 letters)

Massachusetts Institute of Technology, Art Committee, 1968 (1 letter)

Massachusetts Institute of Technology, Office of the President, 1961-1965 (2 letters)

Massachusetts Institute of Technology Press, 1975 (1 letter): from Breuer's office

Massachusetts Institute of Technology, School of Architecture and Planning, 1958-1960 (4 letters)

Massachusetts, University of, Amherst, 1968 (1 letter)

Massenot, J. P. (éditions Techniques), 1974 (1 letter): from Breuer's office Master, Dipak C. (Master Sathe and Kothari, Architects), 1968 (1 letter): from Breuer

Mathews, Joseph F., 1956 (1 letter)

Maucher, Helmut, 1976 (1 letter): from Breuer's office

Maurer, Laurie, undated (3 letters)

Mauser Kommandit-Gesellschaft, 1966 (1 letter)

Mayekawa, Kunio, 1963 (1 letter)

McClean-Smith, Betty, 1940 (1 letter)

McComb, Peter K. and Karen, 1954-1956 (4 letters)

McGarry, Ann M., 1947 (1 letter)

McGill University, Montreal, 1967 (1 letter)

McGlynn Associates, Inc., 1956 (1 letter)

McGrath, Raymond (Office of Public Works, Dublin, Ireland), 1937-1969 (9 letters)

McGraw-Hill Publications, 1967 (1 letter)

McGuinness, William J. (Pratt Institute), 1951 (1 letter)

McIntyre, A. McVoy, 1950-1951 (2 letters)

McLaughlin, Peter, 1959 (1 letter)

McMillan, Louis and Peggy (Architects' Collaborative), 1945-1946 (2 letters)

McVitty, John D., 1946 (1 letter)

John O. Meadows Associates, Ltd., 1984-1985 (2 letters)

Medical Economics, 1960 (1 letter)

Meier, Richard Alan, undated and 1957-1967 (5 letters)

Meldrum, Andrew, 1956 (1 letter): from Breuer

Meller, Herbert, 1969-1970 (4 letters)

Mellon, Mary, 1938 (1 letter)

Meng, John J. (Hunter College), 1963 (1 letter)

Menken, Julian (Julian Menken and Associates), 1964 (1 letter)

Merit Studios, Inc., 1965 (1 letter): from Breuer's office

Merle, André (André Merle Associates, Architectural Engineers), 1946 (1 letter)

Merrill and Holmbren, Architects, 1954 (1 letter): concerns Campbell Building Company

Merrill, Ruth P., 1950-1964 (2 letters)

Metropolitan Milwaukee War Memorial, Inc., 1945 (4 letters): 1 to Walter Gropius

Metropolitan Museum of Art, 1944-1975 (8 letters)

Metropolitan Structures, Inc., 1974 (2 letters): from Breuer's office

Metropolitan Washington Board of Trade, 1969 (2 letters)

Meunier, John, 1957 (1 letter)

México, Consulado Honorario de, 1938 (2 letters)

Meyer-Bohe, Walter, 1975 (1 letter): from Breuer's office

Michaëlis, Lorenz S. (Swiss doctor), undated (1 letter)

Michaelis-Lenolt, Ilse, 1937 (1 letter)

Michaud, Marcel (Stylclair), 1950-1951 (3 letters)

Michel, John (General American Transportation Corporation), 1947-1948 (2 letters)

Michelson, Val (architect), 1970 (1 letter)

Michigan, University of, Ann Arbor, 1957-1963 (19 letters)

Middelhauve, Dr. F. G., 1963 (1 letter)

Mies Van der Rohe, Ludwig, 1945 (1 letter): from Breuer introducing Sanford L. and Helen Berger, architects

Mihályfy, Károlyné, 1966 (1 letter)

Millar, L. R., 1935 (1 letter)

Millard, Charles W., 1957 (1 letter)

Miller Company, 1945-1947 (2 letters)

Miller, Flora W. (Mrs. G. MacCulloch Miller), undated (1 letter)

Miller, H. Wisner, 1968-1969 (2 letters)

Herman Miller Furniture Company, 1951-1954 (4 letters): from Breuer

Miller, Rev. John (St. Charles Seminary), 1975 (1 letter): from Breuer

Miller, Richard J., 1955 (1 letter)

Miller, Steve, 1968 (1 letter): from Breuer

Milliken, W. H. (Binney & Smith Company), 1951 (1 letter)

Mills, Mrs. Edward E., 1954 (1 letter): from William W. Landsberg

Mills, Willis N. (Sherwood, Mills and Smith, Architects), 1960-1969 (2 letters)

Ministre d'état Chargé des Affaires Culturelles, 1963 (1 letter): from Breuer

Minnesota Society of Architects, 1958 (1 letter)

Minnesota, State of, Board of Registration, 1954 (2 letters)

Minnesota, University of, 1953 (1 letter)

Miró, Joan, 1959-1963 (2 letters): 1 from Breuer

Mitchell and Ritchey, 1947 (2 letters)

Mitchell, Mary, 1954 (1 letter): from Breuer's office

Miya & Company, 1956 (1 letter): from Breuer's office

Modern Industry, 1947 (1 letter)

Modern Master Tapestries, Inc., 1974-1975 (4 letters): from Breuer's office

Moffett, Toby, 1974 (1 letter)

Moholy, Lucia, 1957-1958 (5 letters)

Moholy-Nagy, László ("Lakci") and Sibyl, 1934-1955 (40 letters): includes a 1946 exhibition catalog for a Walter Gropius exhibition at the School of Design, Chicago; see also Hug, Hattula Moholy-Nagy

Moldcast Products, Inc., 1950 (1 letter): from Breuer's office

Molitor, Joseph W. (photographer), 1955-1975 (5 letters): 4 from Breuer

Molnár, Farkas (Hungarian architect), undated and 1933-1940 (25 letters)

Mongan, Agnes, 1938 (1 letter)

Montague, Harvey, 1968 (1 letter): from Breuer

Montgomery, Elizabeth (Mrs. Wilmot), 1950 (1 letter)

Moore, Henry, 1946-1962 (13 letters): 6 from Breuer

Moore, Joe A., 1945 (2 letters)

Moore, Paul S. (architect), 1966-1967 (3 letters)

Morassutti, Mangiarotti, 1961 (1 letter)

Moretti, Bruno, 1936 (1 letter)

Morgan, Alice, 1939 (1 letter)

Morgan, Sherley W. (Princeton University), 1952 (3 letters)

Móricz, Miklós, 1947 (1 letter)

Morrell, Mrs. Ben, 1965 (1 letter): from Breuer's office

Sydney Morrell & Company, Inc., 1973-1976 (4 letters)

Morris, Walter (Fuller & Smith & Ross, Inc.), 1950 (1 letter)

Morrow, Margot, 1950 (1 letter): from Breuer's office

Mory, Bob, 1968 (1 letter): from Breuer

Moschette, Angela, 1950 (1 letter)

Motherwell, Robert, 1968 (1 letter)

Muguruza Otaño, José María (architect), 1935-1967 (3 letters)

Mulford, Edwin H., 1966 (1 letter): from Breuer's office

Müller-Rehm, Klaus (architect), 1951 (1 letter)

Mundipharma GmbH, Frankfurt, 1975-1976 (4 letters)

Eduard Munz & Company, 1954-1959 (3 letters)

Murray, J. A. (University of Toronto School of Architecture), 1947-1956 (3 letters)

Murrow, Mrs. Edward R., 1961 (1 letter)

Musée des Arts Décoratifs, 1969 (2 letters)

Museu de Arte Moderna do Rio de Janeiro, 1954 (1 letter)

Museu de Arte Moderna do São Paulo, 1956 (1 letter concerning IV Bienal de S. Paulo)

Museum of Contemporary Crafts, 1967 (7 letters)

Museum of Modern Art, New York, 1941-1976 (49 letters)

Museum of Science and Industry, Chicago, 1967 (3 letters)

Museum of the City of New York, 1959 (2 letters)

Muskat, Irving E., 1968 (2 letters)

Mutsu, Masako, 1964-1965 (2 letters): from Breuer

Myers, John S. and Shirlee, 1955-1959 (4 letters)

Myers, Ralph E., 1958 (2 letters)

Myers, Robert L., 1950 (1 letter)

Nadeau, Eleanor Saxe, 1950 (1 letter)

Nader, Fouzieh, 1972 (2 letters)

Nagare, Masayuki, 1963-1965 (6 letters): 5 letters from Breuer

Nagel, Chester (architect), 1968 (1 letter)

Nagy Iván, Dr. Vitéz (Ministry Secretary), undated (1 letter)

Najibullah, Yousof, 1968 (1 letter): from Breuer

Napier, Frieda (Mrs. Ian Napier), undated and 1937 (7 letters)

Nathan, Carl H. (Suncraft), 1945 (1 letter)

National Academy of Sciences/National Research Council, undated (1 letter)

National Citizens for Johnson and Humphrey, 1964 (1 letter)

National Committee of Arts, Letters and Sciences for John F. Kennedy for President, 1960 (2 letters)

National Concrete Masonry Association, 1958-1959 (7 letters)

National Council of American Soviet Friendship, Inc., Architects' Committee, 1944-1945 (13 letters)

National Council of American Soviet Friendship, Inc., Building Industry Committee, 1946 (6 letters)

National Council of Architectural Registration Boards, 1946-1959 (5 letters): request recommendations for Jean Bodman Fletcher, I. M. Pei, and Richard G. Stein

National Council of Churches, 1955 (1 letter)

National Council on Schoolhouse Construction, 1951 (1 letter)

National Institute of Arts and Letters, 1965-1968 (47 letters): 1967 letter from Breuer includes typescripts concerning Josef Albers and Constantino Nivola; 1968 encloses a letter from Philip Johnson; see American Academy of Arts and Letters National Society of Interior Designers, Inc., 1958 (1 letter) National Terrazzo & Mosaic Association, 1955 (1 letter from Murray S. Emslie)

National Trust for Historic Preservation, 1975 (2 letters): from Breuer's office

Nedberg, Björn, 1951 (1 letter)

Nederlandsch-Amerikaansche Fundatie, 1957-1958 (2 letters)

Neighbour, Keith, 1955 (1 letter)

Neiman Marcus, Dallas, Texas, 1961 (1 letter)

Nelson, George (architect), undated and 1958 (2 letters)

Nemeny, George (architect), 1945 (2 letters): from Breuer

Nervi, Mario (son of Pier Luigi Nervi), 1975 (1 letter): from Breuer

Nervi, Pier Luigi, undated and 1960-1978 (5 letters): see Project File for UNESCO

Neski, Joe and Barbara, 1957 (1 letter)

Neski, Julian (architect), 1967-1970 (2 letters)

Neufert, Ernst, 1946 (1 letter)

Neumann, J. B., 1950 (1 card): sent jointly with Elsa Schmid

Neumann, Lena, 1951 (1 letter): from Breuer's office

Neumann, Vera (Scarves by Vera), 1970 (1 letter)

Nevendorff, Peter (construction supervisor for Ludwig Mies van der Rohe's Museum of the 20th Century), 1967 (1 office message)

Newark Museum, 1954-1955 (5 letters)

New Canaan Advertiser, 1974 (1 letter)

New Canaan Committee for Shakespearean Festival, undated (1 invitation): from Francis A. Sunderland to meet Sir Cedric and Lady Hardwicke

New Canaan Community Nursery School, Inc., 1955 (1 letter)

New Canaan Country School, 1957 (1 letter): from Breuer

New Haven Festival of Arts, Inc., 1959 (4 letters)

New Hungarian Quarterly, 1967 (1 letter)

Newman, Robert B. (Bolt Beranek and Newman), 1951 (1 letter)

Newport, Charles W. (R. S. Noonan, Inc.), 1945 (2 letters)

Newsome, Carroll V. (Prentice-Hall, Inc.), 1962 (1 letter)

Newsweek, 1955 (1 letter)

New York Association of Consulting Engineers, Inc., 1970 (1 letter)

New York Division of Housing and Community Renewal, 1964 (1 letter)

New Yorker, 1967-1975 (3 letters)

New York Institute of Technology AIA Chapter, 1976 (1 letter)

New York, New Haven & Hartford Railroad Company, 1951-1963 (6 letters)

New York Public Library, 1966 (1 letter)

New York State Council on Architecture, 1975 (1 letter)

New York World's Fair 1964-1965, 1964 (1 invitation): for cocktails at Pavilion of Spain

Nicholson, Christopher (architect), 1946 (2 letters)

Nicholson's Sports Apparel, 1945 (1 letter)

Nivola, Constantine, 1966 (1 letter): from Breuer

Noever, Peter (Svoboda and Company), 1958-1968 (4 letters)

Noirot, Genevieve, 1975 (1 letter): from Breuer's office

Nolen, James A., 1970 (1 letter)

Nolen-Swinburne and Associates, 1970 (1 letter): from Herbert Beckhard concerning Department of Housing and Urban Development

Nordmann, Christian, 1934 (1 letter)

North Dakota Agriculture College, AIA, 1959 (1 letter)

North Dakota State College, 1960 (2 letters)

Northey, Ned H., 1956 (1 letter)

Norton, Clifford, undated (1 letter)

Norton, Noël E. ("Peter"; Lady Clifford Norton), undated and 1933-1965 (36 letters)

Norweb, Emery May (Mrs. R. Henry Norweb), 1970 (1 letter)

Noyes, Eliot Fette (architect), undated and 1946-1974 (13 letters)

N.V. Ingenieurs - Bureau Voor Bouwnijverheid, 1960 (2 letters)

Ochs, Fritz, 1950 (1 letter)

O'Connor, Vincent A. G., 1963 (5 letters)

Oehler, Erma L. (Fuller & Smith & Ross, Inc., Advertising), 1947 (3 letters)

Oestreicher, W. L., 1947 (1 letter)

Ohye, Hiroshi, 1954 (1 letter): of introduction from Hyoe Ouchi

Oklahoma Agricultural and Mechanical College, 1950 (1 letter)

Oklahoma, University of, School of Architecture, 1966 (2 letters)

Okudaira, Kozo, 1954-1955 (6 letters)

Olgyay, Aladár (Hungarian architect; twin brother Viktor Olgyay) and Elizabeth, undated and 1939-1960 (12 letters)

Olivetti, Adriano, 1956 (1 letter)

Olivetti, Dino, 1963 (1 letter)

Olivetti, Roberto, 1970 (1 letter)

Olsen, Don and Helen, 1947 (1 letter)

Olsen, Ralph, 1968 (1 letter): from Breuer

Omega Marble, 1965 (1 letter)

O'Neill, John C. R., and Marvin H. Segner (consulting engineers), undated (1 letter)

On Site, 1975 (2 letters): from Breuer's office

Oppenheim, Dennis, 1968 (1 letter)

Ordre des Architectes, Paris, 1964 (1 letter from Robert F. Gatje)

Originators, The, 1977 (1 letter)

Ortega, Alvaro (Colombian architect, student of Breuer), 1960-1972 (3 letters): 1972 letter from Leonard Currie concerns a recommendation for Ortega

Osborn, Elodie and Robert, undated and 1946-1971 (18 letters)

Osborne, Stafford, 1963 (1 memorandum): from James S. Plaut

Otto, Marguerite, 1946 (1 letter)

Oud, J. J. P. (architect), undated (1 calling card)

Owens-Corning Fiberglas Corporation, 1959 (2 letters)

Owurowa, Saji, 1968 (1 letter): from Breuer

Oxford University Press, Inc., 1954 (1 letter)

Pabst, Robert E. (Mabaco Marine), 1956 (1 letter)

Pach Brothers, 1965 (1 letter): from Breuer

Pack, Isabelle (Breuer's secretary), 1958 (3 letters)

Pack, Nancy (Mrs. Howard Meade Pack), undated and 1953 (2 letters)

Paine Furniture Company, 1946 (1 letter)

Pajor, Zoltán, 1938-1947 (7 letters)

Palestrant, Stephen, 1963 (1 letter)

Palmer Physical Laboratory, Princeton, New Jersey, 1945 (1 letter)

Papachristou, Tician and Judy, undated and 1967-1974 (6 letters)

Papadaki, Stamo, 1945-1951 (14 letters): see Commission on Community Interrelations (CCI) of the American-Jewish Congress; Congrès Internationaux d'Architecture Moderne (CIAM), Chapter for Relief and Post-War Planning

Papadakis, Stanis (architect), 1935-1936 (2 letters)

Papock, Herbert (Wylie F. L. Tuttle Company), 1970 (1 letter)

Papp, Leslie G., 1957 (1 letter)

Paquin, G., 1938 (1 letter)

Parkin, John B., 1950 (1 letter)

Parkinson (Cobb), Eliza, undated (2 letters)

Parkinson, Elizabeth, 1969 (1 letter)

Parsons School of Design, 1956 (1 letter)

Passonneau, Joseph R. (Washington University, St. Louis), 1956-1958 (3 letters)

Paterson State Teachers College, undated and 1954 (7 letters)

Payer, Ernst, undated (1 letter)

Pázmándi, Margó (Hungarian architect), 1974 (1 letter)

Pearman, Charles, 1964 (2 letters)

I. M. Pei & Associates, undated and 1959 (6 letters): 1959 letter is letter of recommendation by Breuer for Pei

Pella Rolscreen Company, 1966 (1 letter)

Pennsylvania State University, 1958 (5 letters)

Pennsylvania, University of, 1958-1959 (2 letters)

Pepper, Eleanor (and Alta Grant Samuels), undated (1 letter)

Peressutti, Enrico (Banfi Belgiojoso Peressutti Rogers, architects), 1949-1959 (4 letters)

Perkins, G. Holmes (Harvard University), 1940-1947 (6 letters): see American Society of Planners and Architects (ASPA)

Perrin, Luis (architect), 1957 (1 letter)

Peter, J. A., 1945 (1 letter)

Peter, John, 1951 (1 letter): from Breuer's office

Peterson, Cynthia, undated (1 letter)

Peterson, G. H., 1975 (1 letter): from Breuer

Philco Corporation, 1950 (1 letter)

Phoenix Art Museum, 1965 (1 letter): concerns a Josef Albers exhibition

Pichler, Albrecht, 1968 (1 letter): from Breuer

Picker, Fred, 1974 (4 letters): from Breuer's office

John B. Pierce Foundation, 1945 (1 letter)

Pignot, Gilbert (architect), 1971 (1 letter)

Pilchik, Ely E. (Congregation B'nai Jeshurun), 1962 (1 letter)

Pilzer, Leopold (Thonet Brothers, Inc.), 1943-1954 (9 letters): see also Project File for UNESCO

Pinkus, Dr. Felix, 1933-1934 (3 letters)

Pinter, Anthony S. (Study Abroad, Inc.), 1950-1951 (2 letters)

Pinter, Margit, 1946 (1 letter)

Pintori, Giovanni (Pubblicità Olivetti), 1956 (1 letter): from Breuer

Pisenti, Oreste, 1956 (1 letter): from Breuer

Pittsburgh Plate Glass Company, 1947 (1 letter): from Breuer

Plaut, James S. (Institute of Contemporary Art) and Mary, 1947-1963 (5 letters)

Polak, Jean and André, 1969-1970 (3 letters)

Polányi, Cecil, 1935 (1 letter)

Polieri, Jacques, 1957-1958 (2 letters)

Pomerance, Ralph, 1968 (1 letter)

Centre Georges Pompidou (P. Hussen), 1976 (1 letter): from Breuer

Ponti, Gio (architect), 1963-1967 (2 letters)

Poon, Sze-chiu, 1958 (3 letters): includes a photograph of Poon

Pope and Evans (consulting engineers), 1956 (1 letter)

Porter, Bernice, 1954 (1 letter): from Breuer's office

Porter, Lucy (Mrs. A. Kingsley Porter), 1950 (1 letter)

Porter, Tom, 1974-1976 (3 letters): from Breuer

Portland Cement Association, 1959 (1 letter): from Breuer

Pospischil, Ernest, 1968 (1 letter): from Breuer

Posse, Ricardo Muratorio, 1956 (1 letter)

Postman, Art, 1968 (1 letter): from Breuer

Potter, Arnold and Selma, undated (1 letter)

Potts, Del G. (Fred H. Towery Equipment Company), 1947 (1 letter)

Pouget, Cl. (Cie. IBM, France), 1961-1970 (2 letters)

Pradelle, T. and D., undated (1 letter)

Praeger, Frederick A. (Frederick A. Praeger, Inc.), 1959-1969 (19 letters): includes a 1959 transcript of Praeger's conversation with Breuer concerning the publication of a book on Breuer's life work

Pratt Institute, 1953-1969 (11 letters)

Présentè, G. M., 1954 (1 letter): see Project File for UNESCO

Prestressed Concrete Institute, 1970 (1 letter)

Price, Thomas M., 1946 (1 letter)

Prichard, Theodore J. (University of Idaho), 1946-1950 (3 letters)

Princeton University, 1954-1959 (12 letters)

Princeton University, Graduate Council, 1954 (1 letter)

Princeton University School of Architecture, 1955-1963 (3 letters)

Pritchard, J. C. ("Jack"; producer of Isokon furniture) and Molly, 1944-1977 (56 letters)

Producers' Council, Inc., 1958-1967 (6 letters)

Progressive Architecture, 1974 (1 letter): from Breuer's office

Pullman Company, 1945-1946 (2 letters)

Pusztai, György, 1963 (2 letters)

Quale, Marcia, 1974 (1 letter): from Breuer's office

Quigley, T. T. (Wallace and Tiernan Company), 1946 (1 letter): from Breuer

Quinn, Robert H. (Attorney General of Massachusetts), 1970 (1 letter)

Raab, Martin D. (MIT School of Architecture), 1954 (2 letters)

Raabe, Sally (Harvard University, School of Design), 1947-1960 (4 letters): from Breuer

Rachlin, Abraham H. (Union Building Company), 1944 (2 letters)

Radcliffe Club of Long Island, 1954 (1 letter)

Radich, Stephen J. (Stephen Radich Gallery), 1967 (1 letter)

Rado, Ladislav L. ("Laco"; architect), 1943-1945 (6 letters)

Radwany, Emery L. and Helen, 1951-1954 (2 letters)

Rafferty, James B. (RCA Communications, Inc.), 1954 (1 letter)

Raffo, Nestor, 1968 (1 letter): from Breuer

Rakatansky, Ira (architect), 1954-1959 (7 letters)

Ram Press, Inc., 1954 (1 letter): from Robert F. Gatje

Rand, Ann, 1951 (1 letter)

Randinsky, Nina, 1963 (1 letter)

Rapson, Ralph (University of Minnesota, School of Architecture), 1954-1959 (5 letters)

Rather, Lillian Townsend (Mrs. James Rather), 1966 (1 letter)

Rauschenback, Esther, 1951 (1 letter)

Read, Sir Herbert, 1955 (3 letters)

Réalitiés, 1964 (1 letter)

Rebay, Baroness, 1936 (1 letter)

Rédèr, J. M., 1956 (1 letter)

Reed & Barton, Silversmiths, 1963-1964 (7 letters)

Reed, Joe, 1958 (1 letter): from Breuer concerning the first tubular steel chair

Reese, Ilse Meissner, 1974 (1 letter): from Breuer's office

Reidy, Affonso Eduardo, 1963 (1 letter)

Reilly, Ambassador (of Great Britain) and Lady, 1965 (1 invitation): to reception for the Fourth Biennale de Paris

Reinwald, Karl, 1969 (1 letter)

Rendy, Lili, undated (1 letter)

Rensselaer Polytechnic Institute, 1950 (1 letter)

Renz, Wilhelm (Wilhelm Renz K G, Moebelfabrik), 1966 (1 letter)

Republic, The, 1975 (1 letter): from Breuer

Residence Lighting Forum (Illuminating Engineering Society), 1953 (1 letter)

Rettaliata, John (Illinois Institute of Technology), 1955 (1 letter)

Rév, Lajos, 1974 (1 letter): from Breuer

Reynolds Metals Company, undated and 1946-1956 (9 letters)

Rhode Island Chapter of AIA, 1959 (1 letter)

Rhode Island School of Design, 1956-1959 (4 letters)

Richards, Jim M. and Peggy, undated and 1936-1939 (5 letters)

Richards, Steve, 1966 (1 letter)

Richlan, Frank, 1968 (1 letter): from Breuer

Richman, Robert (Institute of Contemporary Art), 1952 (2 letters): from Breuer

Richmond, C. R., 1941 (1 letter)

Richmond Radiator Company (A. A. Marks), 1944 (2 letters): from Breuer

Rietkerk, William, 1956 (1 letter)

John and Mable Ringling Museum of Art, 1956 (1 letter)

Ritchey, Dahlen K. (Deeter Ritchey Sippel, Architects), 1968 (1 letter)

Rivers, Shavaun, 1950 (1 letter)

Roberts, Russell (opera singer who bought Breuer's first New Canaan house), 1951-1955 (7 letters): 6 letters from Breuer

Robinson, Frank S., 1969 (2 letters)

Robinson, Mrs. Preston, 1946-1960 (2 letters)

Roche, Mme. Yolande, 1966-1967 (4 letters)

Rockefeller, Blanchette (Mrs. John D. Rockefeller III), 1962 (1 letter)

Rockefeller, John Davison, IV, 1967 (1 wedding announcement): for Rockefeller and Sharon Lee Percy

Rockefeller, Nelson A., undated and 1967 (2 printed invitations)

Rocourt, Evelyn, 1954-1955 (4 letters)

Rodgers, Paul C. (Burton-Rodgers, Inc.), 1946 (13 letters)

Roffman, Edward A. Roffman Associates, 1951 (1 letter): from Breuer's office mentioning György Kepes

Rogers, Ernesto N. (Banfi Belgiojoso Peressutti Rogers, architects), undated and 1938-1950 (6 letters): see Project File for UNESCO

Rombro, Louise, 1950 (1 letter)

Root, Ballantine, Harlan, Bushby & Palmer, 1952 (1 letter)

Rosenberg, E., 1956 (1 letter)

Rosenthal, Julius, 1950 (2 letters)

Rosenthal, Richard Laurence, 1969 (1 letter)

Ross, Janet (Vassar College), 1950 (1 letter)

Rossi, Irving, 1944 (2 letters)

Rossum, Cheryl (photographer), 1974 (1 letter): from Breuer's office

Roth, Alfred (architect), 1933-1963 (9 letters)

Roth, Gordon (builder), 1946-1947 (3 letters)

Roth, Joan, 1968 (1 letter): from Breuer

Rothschild, Sigmund, 1974 (1 letter): from Breuer

Roux, Alina (Photograph Department, UNESCO), 1960 (2 letters): see Project File for UNESCO

Rowe, James (Corcoran, Foley, Youngman & Rowe), 1970 (1 letter)

Royal Society of Arts, 1969 (4 letters)

Rudert, Anton, 1976 (1 letter): from Breuer

Rudofsky, Bernard, 1946-1950 (2 letters)

Russell, Gordon, 1936-1947 (3 letters)

Russell, Véra, 1969 (1 letter)

Rutherford, Eric, 1964-1967 (6 letters)

Rutledge, Dick, 1951 (2 letters): from Breuer's office

Saarinen, Eero, undated and 1946-1954 (5 letters): see Project File for UNESCO

Eero Saarinen & Associates, 1955 (1 letter)

Sackler, Raymond R., 1972 (1 letter)

Ed Sacks Company, 1950 (1 letter)

Saidenberg, Eleanore (Mrs. Daniel Saidenberg), undated (1 letter)

Sailer, John, 1968 (1 letter)

St. Francis de Sales Church, 1965-1966 (2 letters)

St. James Press, Ltd., 1977 (2 letters)

St. John's Abbey, 1953-1978 (9 letters)

Sakakura, Junzo, 1968 (1 letter)

Sakakura, Miho, 1968 (1 letter): from Breuer

Salzano, Baron de Ferraris (Italian Consulate General), 1956 (2 letters): from Breuer

Salzman, Stanley (architect), 1947-1971 (2 letters)

Sampson, Thérèse (Mrs. Richard Sampson), 1954 (1 letter)

Samuely, Felix J. (consulting engineer), 1954 (3 letters)

Sanchez, Sergio, 1968 (1 letter): from Breuer

Sanders & Malsin, Architects, 1949 (1 letter)

Krausz J. Sándor és Jeno, 1933 (1 letter)

San Francisco Redevelopment Agency, 1961 (1 letter): from Breuer's office

Sarabhai, Gera, 1946 (1 letter): from Breuer

Sarah Lawrence College, 1961-1976 (4 letters): 3 from Breuer

Sarton, May, undated (1 letter)

Sato, Chikafusa, 1968 (1 letter): from Breuer

Satterlee, Nicholas, 1965 (1 letter)

Saturday Home Magazine, 1947 (1 letter)

Saxl, Erwin J. (Saxl Instrument Company), 1945 (1 letter)

Sayago, Manuel (Centro Profesional del Este), 1960 (2 letters)

Saybolt, Cleland & Alexander, Inc., 1945-1946 (2 letters)

Schaaf, Miv (Architectural Panel), 1958 (1 letter)

Scharff, Stephen L., 1950 (1 letter): from Breuer

Schawinsky, Xanti and Irene, undated and 1934-1964 (14 letters)

Schecter, Jack H. (architect), 1950 (1 letter)

Schendell, Hal, 1947 (2 letters): to Eliot Noyes

Schickel, William J., 1964 (1 letter)

Schillinger, Emilio F., 1964 (1 letter)

Schleifer, Fritz, 1934 (1 letter)

Schlemmer, Tut (Mrs. Oscar Schlemmer), 1960-1965 (3 letters)

Schlesinger, Alajos, undated (1 letter)

Schmalenbach, Werner (Kunstsammlung Nordrhein-Westfalen), 1976 (2 letters)

Schmid, Elsa, 1950 (1 card): sent jointly with J. B. Neumann

Schmidt, Benno C. (J. H. Whitney & Company), 1970 (1 letter)

Schmidt-Gellerau, Karl, 1934 (3 letters)

Schmieg & Kotzian, 1945 (1 letter)

Architekturbüro Joachim Schmitz, 1974 (1 letter): from Breuer's office

Schnall, Ben (photographer), undated (2 letters) vSchneck, Adolf G. (architect), 1947-1950 (2 letters)

Schneider-Manzell, Toni (Biennale Christlicher Kunst der Gegenwart Salzburg), 1964 (2 letters)

Robert Schoelkopf Gallery, undated (1 invitation): to meet Walker Evans

Schoendorff, Ellen G., 1937 (1 letter)

Schömer, Ervin (architect), 1974-1975 (6 letters)

Schorer, Mark, 1960 (1 letter): from Breuer

Schultz, Lili, 1964 (1 letter)

F. Schumacher & Company, 1954-1964 (2 letters): from Breuer's office

Schuster, Mathias and Gerda (Schuster & Geiger), 1950-1964 (3 letters)

Schweighofer, Dr. Fritz, 1960 (1 letter)

Science Illustrated, 1955 (1 letter): from Breuer

Scitorszky, Hanna, 1966 (1 letter)

Scott, Stuart N. (Dewey, Gallantine, Bushby, Palmer & Wood), 1958 (1 letter)

Seagram-Distillers Corporation: see Kessler-Gallacher & Burton

Sears, Roebuck and Company (Arthur M. Wood), 1974 (1 letter): from Breuer concerning luncheon for Alexander Calder

Segal, Georgette, 1954 (1 letter): from Breuer's office

Seghers, Pierre, 1963 (1 letter)

Segner, Marvin H., and John C. R. O'Neill (consulting engineers), undated (1 letter)

Segre, Mr., 1959 (2 letters): from Breuer

Seidel, Bert (architect), 1955 (2 letters)

Seidler, Harry (architect, Black Mountain College), 1946-1978 (24 letters)

Sekey, Sue, 1968 (1 letter): from Breuer

Selinger, Hans, 1956 (1 letter)

Selwood, Christopher, 1958-1959 (2 letters): see also Gardner-Medwin, R. J.

Selye, Hans, 1967 (1 invitation): to George Washington Awards Dinner in honor of Breuer, Selye, and Watson Kirkconnell

Semrad, Peter H., 1957 (1 letter)

Senix Aerial (Don Preuss), 1947 (1 letter)

Sert, José Luis (architect) and Moncha, 1945-1970 (7 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee; Project File for UNESCO

Setzer, H. O. (Spartan Tire & Recapping Company), 1947 (3 letters)

Sevely, Marvin, 1951 (1 letter): from Breuer's office

Seyton, Mrs., 1954 (1 letter)

Shackleton, Edwin, 1951 (1 letter)

Shand, James (Art and Technics, Ltd.), 1950 (1 letter)

Shankland, Graeme, 1939 (1 letter)

Shannon, Edgar Finley (University of Virginia), 1967 (1 invitation): to Founder's Day Exercises

Sharon Forest Service Company, Inc., 1950 (5 letters)

Shattuck, George, 1946 (1 letter): from Breuer

Shelton Roofing Company, Inc., 1956 (1 letter): from Breuer's office

Shepley, Anna L., undated (2 letters)

Shinoda, Toko, 1964 (2 letters)

Shokokusha Publishing Company, 1961-1964 (10 letters)

Shook, Ken, 1968 (1 letter): from Breuer

Shuster, George N. (University of Notre Dame), 1962 (1 letter)

Sichel, Miss Cuy, 1964 (1 letter): from Breuer concerning Eric Rutherford's artwork

Siepman, Charles, 1956 (1 letter)

Siesel, Harold J. (Harold J. Siesel Company, Advertising), 1947 (1 letter)

Simha, O. Robert (Fulbright scholar), 1958 (1 letter)

Simon, Eva, 1934 (1 letter)

Simon, Steph (Ateliers Jean Prouvé), 1953-1956 (7 letters)

Simonson, Lee, 1955 (1 letter)

Simpson, Robert (Chemical Bank), 1975 (1 letter)

Simpson, William (New York University), 1960 (1 letter): from Robert F. Gatje

Sindicato Nacional de la Construcción (Jorge Fernández de Cuevas, architect), 1976 (1 letter): from Breuer

Sive, André (architect), 1947 (1 letter)

Skidmore College, 1954 (1 letter)

Skidmore, Owings & Merrill, 1959-1965 (3 letters)

Skouras, Odyssia A. and Federico Quadrani, 1964 (1 exhibition announcement): for Francesco Somaini

Slayton, William L. (Urban America, Inc.), 1967-1968 (2 letters)

Sloth, Finn (Milieu Company), 1966-1967 (5 letters)

Smith, Christina, 1963 (2 letters)

Smith, Elbert G. (University of Denver), 1946 (1 letter)

Smith, Hamilton and Caroline, 1954-1978 (34 letters): see Gatje Papachristou & Smith; Project File for UNESCO

Smith, Linus Burr, 1956 (1 letter)

Smithsonian Institution: 1981 (4 letters)

Snyder, J. Rowland, 1968 (1 letter)

Sobelsohn, Jacob (CPA), 1945-1946 (3 letters)

Sociedad de Art Moderno, México, 1944 (1 letter)

Società degli Ingegneri e degli Architetti in Torino, 1960 (3 letters)

Society of Student Architects (Polytechnic, London), 1955 (2 letters)

Somaini, Francesco, 1964 (exhibition announcement)

Somerville, City of, Massachusetts, 1950 (1 letter)

Charles W. Sommer & Bro., Inc. (importers), 1946 (2 letters)

Sonnenberg, Benjamin (and John L. Loeb), undated (1 invitation): to birthday for Armond Eiff [?]

Sorensen, Abel (Von der Lancken, Lundquist and Sorensen), 1954 (1 letter)

Soupault, Ré Philippe, 1946-1950 (2 letters)

Southern California, University of, 1947-1958 (2 letters)

Sovik, Mathre and Madson, Architects, 1966 (1 letter)

Speert, Harry A., 1974 (1 letter): from Breuer's office

Spencer, William A. (New York University), 1960 (2 letters): from Robert F. Gatje

Speyer, Darthea (American Legation), 1950 (1 letter)

Spilman, Raymond, 1955 (1 letter)

Spinelli, Pat, 1968 (1 letter): from Breuer

Spring, Bernard Polmer, 1945 (1 letter)

Stadler-Stölzl, G., 1967 (1 letter)

Staehelin, William R. and Marina, 1959-1977 (11 letters)

Staempfli, George, 1965-1966 (2 letters)

Stanpat Company, 1954 (2 letters): from Breuer's office

Starkey, Mrs. Robert James, 1960 (1 letter): from Breuer

Starr, Polly (Mrs. Donald Starr), 1937-1938 (2 letters)

Stattelman, Richard, 1966 (1 letter)

Stein, Richard G. (architect), undated and 1951 (2 letters)

Steinberg, Saul, 1951-1965 (2 letters): from Breuer

Stendig, Charles (Contract Furniture), 1963-1967 (5 letters)

Stern, Alfred (U.S. Department of Commerce, Office of International Trade Fairs), 1957-1958 (4 letters)

Stern, Andor, 1950 (1 letter)

Stern, Max, 1963 (2 letters)

Sternberg, Charles (International Rescue Committee), 1956 (1 letter): of introduction for ádám Krivátsky-Szüts

Stevens, Edmund, 1960 (2 letters)

Stillman, Edgar and Kate [?] ("B + J"), 1953-1965 (2 letters)

Stillman, Jean, 1965 (1 letter)

Stillman, Kathy, 1965 (1 letter)

Stillman, Rufus C. ("Ruf") and Leslie, undated and 1951-1975 (60 letters): 1954 letter from Breuer's office encloses Stillman's outline for a book

Stockton, Sue, undated and 1964 (2 letters)

Stoddard, Whitney S. (Society of Alumni of Williams College), 1951 (1 letter)

Stoller, Ezra (photographer) and Helen, undated and 1945-1967 (8 letters)

Stonorov, Oskar (architect) and Elizabeth, 1944-1946 (4 letters)

Storch, Samuel (Astorloid Manufacturing Company/Astor-Ramel Manufacturing Company), 1945 (6 letters)

Storrow, Helen (Mrs. James Jackson Storrow), undated (4 letters)

Strenger, József, 1963 (2 letters)

Strettell, Marguerita (Rita), undated (1 letter)

Strohbach, Susi, 1968 (1 letter): from Breuer

Strudwick Board of Trade, 1945 (1 letter)

Strunk, Granville B. (Santa Ana City Schools), 1946 (1 letter)

Stubbins, Hugh A. (architect), 1950-1977 (6 letters)

Stylos, Architectural Students Association at Delft, 1954 (1 letter)

Sugár, Stephen, 1947-1951 (2 letters): from Breuer

Sunderland, Mrs. Francis A., 1954 (1 letter): from Breuer's office

Suter-Moser, Claude, 1956: see Project File for UNESCO

Sutnar, Ladislav, 1951-1965 (2 letters): see Project File for UNESCO

Suzuki, Shizuo, 1975 (1 letter including résumé)

Swan, Robert Andrew, 1960-1963 (2 letters)

Swanson & Brey, Architects, 1961 (1 letter)

Swanson, Dean, 1963 (1 letter): to Charles H. Sawyer

Sweeney, James J., 1938 (2 letters): from Breuer

George J. Switzer Company, 1954-1956 (4 letters): see Project File for UNESCO

Syracuse University Library, 1968 (1 letter)

Syracuse University, School of Architecture, 1959 (8 letters)

Syska and Hennessy, Inc., 1975 (1 letter): from Breuer

Szabó, Albert, 1947-1950 (2 letters)

Szabó, Eva Mary (master weaver), 1966 (1 letter)

Szabó, G. (African Hide Trading Corporation), 1964 (1 letter)

Szak, László, 1957 (2 letters)

Szegedy-Maszák, Aladár (minister of Hungary), 1947 (1 letter)

Székely, Sándor, 1957-1959 (5 letters)

Székely, Tamás István (Wohnbedarf furniture store), 1956-1965 (10 letters): see Project File for UNESCO

Szüle, Peter János, 1975 (2 letters)

Tadashi, Iijima, 1963 (1 letter)

Tange, Kenzo and Toshike, 1960-1968 (3 letters)

Tanier, George (George Tanier, Inc.), 1961 (2 letters)

Tapia, Raúl, 1968 (1 letter): from Breuer

Tate, Allen and Helen, 1966-1967 (2 letters)

Tate, Isabella (Bella), 1963 (1 letter)

Taylor, Harold, 1951-1968 (3 letters)

Tech Reps, Inc., 1966 (1 letter)

Teller, Mrs. Walter M., 1945 (1 letter)

Terminal Radio Corporation, 1951 (1 letter): from Breuer's office

Tesla, S., 1961 (1 letter)

Thames and Hudson, Ltd., 1962-1963 (2 letters)

Theband, Polly, 1964-1965 (3 letters)

Thebond [?], Sacha, 1959 (1 letter)

Thole, Henry G. (Seaboard Surety Company), 1947 (1 letter)

J. Walter Thompson Company, 1956 (1 letter)

Thompson, Marion Gordon (Mrs. A. W. Thompson), 1950 (1 letter): see Project File for UNESCO

Thompson, Rolland, 1955-1969 (3 letters)

Thonet Brothers, Inc., 1966-1968 (3 letters): see also Pilzer, Leopold

Thost, Eberhard, undated and 1934-1937 (4 letters)

Throop, Mortimer, 1959 (1 letter): from Breuer's office

Thun, Ole, 1976 (1 letter): from Breuer's office

Thurman, Marie Christophe de Menil, undated (1 letter)

Thürmer, Ludwig and Marie Luise, 1965-1970 (8 letters)

Tibby, Jack, 1954-1956 (4 letters)

Tice & Lynch, Inc., 1953 (1 letter)

Tieger, Robert M.., 1946 (1 letter)

Tildy, Mrs. Zoltán, 1947 (1 invitation): to her honorary dinner

Tillinger, Jerry D. (Ferendino, Grafton, Spillis, Candela), 1974 (1 letter): from Breuer

Time magazine, 1954-1960 (6 letters): see also Jones, Cranston

Tischler, Julie [?], 1934 (1 letter)

Tizzone [?], Joe, 1967 (1 letter)

Todd, Charles I. (Pittsburgh Plate Glass Company), 1958 (1 letter)

Tolnay, Károly ("Carl"), 1959 (1 letter)

Tompkins, Gilbert Calyer, undated and 1941-1968 (7 letters)

Torin Corporation, 1974-1975 (2 letters): from Breuer's office

Torok, László (engineer), 1933 (1 letter)

Toronto, University of, Architectural Society of, 1958-1960 (7 letters)

Touche, A., 1963 (1 letter): from Breuer

Tourneroche, R. (Comptoir Artisanal du Maroc), 1956 (2 letters)

Towers, Mrs. Henry, 1950 (1 letter): from Breuer

Townsend-Chatterton Company, 1974 (1 letter): from Breuer

Tragseil, Karl (Austrian architect), 1950 (1 letter)

Tralau, Walter (Gerhard Marcks/Wera Mayer-Waldeck/Walter Tralau), 1953 (1 letter): includes a printed statement about Walter Gropius

Treseder, Frank C., 1946 (2 letters)

W. F. Tubbs Company, 1944 (1 letter): from Breuer

Tuchman, Barbara (Mrs. Lester Tuchman), 1970 (1 letter)

Turner, Howard (Turner Construction Company), 1968 (1 letter)

Mark Twain Journal (Cyril Clemens), 1969 (1 letter)

Tyroler, József ("José"), 1938-1940 (2 letters)

Uda, William, 1951 (1 letter)

Ugarte, Federico A. (architect), 1963 (1 letter)

Undicesima Triennale di Milano, 1957 (5 letters)

UNESCO Centrum Nederland, 1954 (1 letter)

UNESCO, Paris, 1958-1961 (4 letters)

Union Carbide Building, 1963 (1 letter): from Breuer's office

Union pour le Recouvrement des Cotisations de Sécurité Sociale et d'Allocations Familiales (URSSAF), 1953 (1 letter): from Breuer

United Nations, New York, 1966 (2 letters)

United States Department of the Interior, Bureau of Reclamation, 1974 (1 letter): from Breuer's office concerning Grand Coulee Dam

United States Department of Justice, Immigration and Naturalization, 1938-1959 (4 letters from Breuer)

United States Department of State, 1946-1974 (4 letters)

United States Embassy, London, 1960-1961 (2 letters): from Breuer concerning Jo Yorke and Jane Susannah Yorke

United States General Services Administration (GSA), 1963-1977 (3 letters)

United States Government Printing Office, 1947 (2 letters): from Breuer

United States Information Agency, 1957-1964 (7 letters)

United States National Commission for UNESCO, 1951 (information for a conference)

United States Plywood Corporation, 1946 (1 letter)

United States Postmaster General, 1955 (1 letter): from Breuer's office

United States Selective Service, 1942 (notice of classification)

United States Social Security Administration, 1956 (1 letter): from Breuer's office

Untermeyer, Louis, 1964 (1 letter)

Urbahn, Max O. (architect), 1965-1975 (2 letters)

Ustinov, Nadie, undated (1 letter)

Vachon, Judy and David, undated and 1964 (2 letters)

Valentin, Kurt (Buchholz Gallery), 1944 (1 letter)

Valle, Tommaso and Gilberto, undated (1 letter)

Van Altena, Edward, 1951 (1 letter): from Breuer's office

Van den Broek, Professor J. H. (architect), undated (1 letter)

van der Straeten, Jean (CBR Cimenteries Bruxelles), 1970 (1 letter)

Van der Wal, Dr. G., undated and 1961-1966 (6 letters)

Van Doren, Mark, 1963 (2 letters): see also Citizens Committee for a Nuclear Test Ban Treaty

van Eesteren, C. (architect), 1951 (1 letter)

van Leer, Oscar, 1970 (1 letter)

van Westen, J. H., 1960 (1 letter)

Varèse, Edgard (composer), 1956 (1 letter)

Vargha, László I., 1967 (2 letters)

Vecchione, Robert, 1964-1970 (2 letters)

Véghelyi, Péter (Acta Paediatrica, Hungarian Science Academy), 1963-1972 (5 letters)

Ventris, Dora (and Michael), undated (1 letter)

Vergun, Alexei, 1975 (1 letter): from Breuer

Verlag Girsberger, 1956 (1 letter): from Breuer

Viasz, Andor Safed ("Bendj"), 1962 (1 letter)

Vidal, Yves, 1956-1971 (7 letters)

Vincent, Mr., 1963 (1 letter): from Breuer's office

Violich, Francis, 1955 (1 letter)

Virág, Csaba (Hungarian architect), 1965-1974 (3 letters)

Virginia Polytechnic Institute, 1960 (2 letters)

Virginia, University of, 1967-1970 (18 letters)

Vissière, A. (architect), undated (1 letter)

Visy, Béla, 1957 (1 letter)

Vitrum magazine (Centro Informazioni e Studi per le Applicazioni del Vetro nell'Edilizia e nell'Arredamento; C.I.S.A.V.), 1955 (1 letter)

Vogel, George S. (Temple Israel, Cortlandt), 1951 (1 letter)

Voigt, James D. (Voigt and Fourré, Architects), 1958 (4 letters)

Volante, Julio C., 1955-1963 (2 letters)

von Debschitz, Irene, 1935 (1 letter)

von Erffa, H., 1951-1968 (2 letters)

von Meyerburg, Henrietta [?], undated (1 letter)

von Moltke, Wilhelm Viggo, 1946-1958 (4 letters)

von Segesser, Beat and Francisca, 1968-1975 (1 letter, plus 4 from Breuer)

Wachsmann, Konrad (architect/designer, General Panel Corporation), 1945-1965 (8 letters): see National Council of American Soviet Friendship, Inc., Architects' Committee

Wadsworth, Suzanne G., 1975 (1 letter): from Breuer's office

Wagner, Martin (Harvard University), 1946 (2 letters)

Senator Wagner Memorial Dinner, 1965 (1 invitation): from mayor of New York

Walker and Company, 1966-1967 (2 letters): includes a typescript about Breuer; see also Heyer, Paul O.

Walker Art Center, Center Arts Council, 1959-1962 (12 letters)

Walker, H. E. L. (Universal Moulded Products Company, Ltd.), 1943 (1 letter)

Walker, Ralph (AIA), 1951 (1 letter): from Walter Gropius

Walker, Vicki, 1968 (1 letter): from Breuer

Ward, Ernest and Priscilla (Sprague Electric Company), 1946 (2 letters)

Washington University, St. Louis, Missouri, 1975 (1 letter): from Breuer

Watson, Arthur K. (U.S. Embassy, Paris), 1970-1972 (2 letters)

Watson, Thomas, 1970 (1 letter)

Wattjes, Professor J. G., 1935 (1 letter)

Webb & Knapp (Canada), Ltd., 1963 (3 letters)

Weidler, Charlotte (Bauhaus Ausstellung), 1968 (1 letter)

Weidlinger, Paul, 1946: see Project File for UNESCO

Weidlinger Associates, 1983-1984 (2 letters)

Weiner, Paul L., 1950-1966 (2 letters)

Weinstein, Jerry, 1945 (1 letter)

William H. Weintraub & Company, Inc., 1943-1947 (3 letters)

Weiz [?], Tiberio, 1939 (1 letter)

Weizenblatt, Sprinza, 1946-1963 (20 letters)

Wenzler, William P. (architect), 1965-1968 (4 letters)

Weren, Edward C., 1946 (1 letter)

Werner, Ingrid, 1963 (3 letters)

Wertz, Mr. (Der Finanzminister des Landes Nordrhein-Westfalen), 1974 (1 letter): from Breuer

West China Development Corporation, 1947 (1 letter)

West Coast Stained Shingle Company, 1950 (1 letter): from Breuer

Westcott and Mapes, Inc. (architects and engineers), 1970 (1 letter)

Western Arts Association, 1959 (4 letters)

Western Reserve University, 1958 (5 letters)

Westport Public Library, 1975 (1 letter): from Breuer

Wetter, Barbara, 1980 (1 letter): concerns traveling exhibition

Wheaton, William L. (Pomona College), 1960 (1 letter)

White, George (architect of the Capitol), 1975 (1 letter): from Breuer

White House (Letitia Baldridge), 1963 (1 letter): mentions Jacqueline Kennedy

White, J. G. (Peerless Flooring Company), 1955 (1 letter)

Whitney, Charles E. (Publications, Inc.), 1954-1956 (2 letters): from Breuer's office

Whitney Museum of American Art, 1968-1976 (19 letters): 1 from Jean Lipman; 14 from Breuer and a typescript about Alexander Calder

Who's Who in America, 1947 (2 letters)

Wieland, Albert, 1963 (1 letter)

Wiener, Paul Lester and Ingebord, 1944-1955 (3 letters)

Wiesenfeld, David, 1957 (1 letter): from Breuer's office

Wieser, U. P. (Wohnbedarf furniture store), 1959-1960 (3 letters)

Wigglesworth, Isabella C., 1946 (1 letter)

Wilcox & Company, 1972 (1 letter)

Wilder, Hugo, 1946 (1 letter): from E. S. Ferguson

Wiley, Chuck, 1950 (1 letter)

Wilhelm, Günter, 1949 (1 letter)

Wilinski, Erich, 1935 (2 letters)

Willard, Marian G. ("Viva Villa"; East River Gallery), undated and 1935-1965 (25 letters)

Williams, Amancio (architect), 1955 (1 letter)

Williams, Daniel, 1974 (1 letter): from Breuer's office

Williams, Peter C., 1956 (1 letter)

Williams, Preston, 1958 (2 letters)

Wilson, Dr. and Mrs. Julius Lane, 1965 (1 letter)

Wilson, June P. (Mrs. Kenneth Wilson), 1968 (1 letter)

Wilson, Marjorie (Mrs. Will Wilson), 1956 (1 letter)

Winde, McCormick & Chapin, 1945 (1 letter)

Wingler, Hans, undated and 1966-1980 (23 letters): 14 from Breuer; see also Bauhaus Archiv E.V.

Winkler, Robert, 1955 (1 letter)

Winsten, Steve, 1968 (1 letter): from Breuer

Winston, E., 1950 (1 letter)

Winter, Edward, 1950-1951 (3 letters)

Wisconsin Chapter of AIA, 1960 (1 letter)

Wisconsin, University of, 1960 (2 letters)

Wisdom Encyclopedia, 1966 (1 letter)

Wogner, Charles, 1951 (2 letters)

Wohlstetter, Albert (Atlas Aircraft Products Corporation), 1944-1946 (7 letters)

Wohlstetter, Marjorie, 1946 (1 letter)

Wolf, Albin, 1933 (5 letters)

Wolf, Ferenc, 1963-1965 (4 letters)

Wolfe, James F. (Ketchum, MacLeod & Grove, Inc.), 1960 (2 letters)

Wolff, Robert Jay, 1956-1975 (3 letters): 1 from Breuer

Wolfson, Sidney, 1954-1955 (2 letters): from Breuer's office; 1975 letter is from Nicholas P. Appy, executor of Sidney Wolfson's will

Wollowick, David P., 1947 (1 letter)

Wong, Andy, 1968 (1 letter): from Breuer

Wong, Tommy (UCLA), 1974 (1 letter)

Worcester Art Museum, 1954 (1 letter)

Working, Jane, undated and 1961 (5 letters)

Wright, Irving S. and Lois, 1963-1968 (2 letters)

Wright, Russell (pottery), 1950-1951 (2 letters): from Breuer's office

Wu, King-lui, 1945-1950 (7 letters): 6 from Breuer

Wunderlich, Carlos Asensio, 1946 (1 letter): from Breuer

Wundrich-Meissen, 1934 (1 letter)

Wurster, William W. (architect) and Catherine, 1946-1960 (6 letters): see American Society of Planners and Architects (ASPA)

X Functie, 1953-1957 (3 letters)

Yale University, 1945-1976 (4 letters)

Yamawaki, Iwao, 1954 (2 letters)

Yasko, Karel, 1968 (1 letter)

Yorke, F. R. S. (Francis Reginald Stevens Yorke; architect), 1944-1962 (31 letters)

Yorke, Thelma and Kay, 1938-1939 (2 letters)

Yoshimura, Junzo (architect), undated (1 letter): to Yoshimura from Pella Rolscreen Company

Yoshioka, Yasugoro, undated (1 letter)

Young, Edward L., 1966 (1 letter)

Young, Hamilton, 1938 (1 letter)

Yu, Jane, 1964-1965 (3 letters)

Yurchenco, Basil ("Chenk"; Goldwater & Yurchenco Associates), 1947-1950 (3 letters)

Zahedi, H. E. Ardeshir (ambassador of Iran), 1974-1975 (4 letters): from Breuer

Zanuso, Marco (architect; Olivetti), 1957 (1 letter): from Breuer

Zechlin, Hans Josef, 1950 (1 letter)

Ziegler, Barbara, 1947 (1 letter)

Ziegler, Frank, 1974 (1 letter): from Breuer

Ziegler, Richard, undated (1 letter)

Zwick, Virgil J., 1959 (1 letter)
Collection Restrictions:
The microfilm for this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Marcel Breuer papers, 1920-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.breumarc, Series 2
See more items in:
Marcel Breuer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94269a410-353a-4450-a036-6d5688d6cf20
EDAN-URL:
ead_component:sova-aaa-breumarc-ref54

Rudolph Schaeffer papers

Creator:
Schaeffer, Rudolph  Search this
Names:
East & West Gallery (San Francisco, Calif.)  Search this
Rudolph Schaeffer School of Design  Search this
Adams, Ansel, 1902-1984  Search this
Cunningham, Imogen, 1883-1976 -- Photographs  Search this
Frey, Caroline  Search this
Frey, Fred  Search this
Tobey, Mark  Search this
Wright, Frank Lloyd, 1867-1959 -- Photographs  Search this
Extent:
13.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Place:
Japan -- Description and Travel
Date:
1880s-1997
Summary:
The collection measures 13.3 linear feet, dates from the 1880s-1997 and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.
Scope and Content Note:
The collection measures 13.3 linear feet, dates from the 1880s-1997, and documents the life and varied career of Rudolph Schaeffer, artist, designer, teacher, writer, collector of Asian art, and pioneer in the field of color study who founded the Rudolph Schaeffer School of Design in San Francisco in 1926. The papers include biographical information, correspondence, subject files, writings, diaries, journals, artwork, scrapbooks, sound recordings, and photographs.

Correspondence documents Schaeffer's personal and professional activities as well as the Rudolph Schaeffer School of Design. Subject files contain various combinations of correspondence, photographs, printed material, and drawings reflecting Schaeffer's activities, projects, and interests. Within the subject files is correspondence with artists, including Mark Tobey. Extensive writings include manuscripts for published and unpublished articles and drafts, notes, and manuscripts of several unpublished books including Collected Lectures of Rudolph Schaeffer on Color and Design, Color and Design, Prismatic Color Theory, and Rhythmo-Chromatics, all undated. Diaries include a volume recording Schaeffer's 1936 trip to Japan. 42 volumes of journals, compiled between 1954 and 1987, contain entries on a wide range of subjects including lists of errands, invitation lists, class notes, drafts of letters, notes including staff assignments and staff meetings, autobiographical notes and reminiscences, and musings on religion and philosophy.

The Artwork series houses artwork by Schaeffer and his students. Found are hand-made Christmas cards, designs, sketches, and sketchbooks. Seven scrapbooks document Rudolph Schaeffer's career, his school and former students, and the San Francisco art scene. They contain printed material, photographs, letters, and a small amount of artwork. Volume 3 is devoted to East West Gallery, and volume 7 documents Rudolph Schaeffer's 90th Birthday and the 50th Anniversary of the Rudolph Schaeffer School of Design.

Most untranscribed sound recordings (audio cassettes and reels) are of lectures by Schaeffer and others delivered at the Rudolph Schaeffer School of Design.

Miscellaneous records includes a series of hand-baticked fabric samples from the Wiener Werkstatte, as well as transcripts of an oral history with Schaeffer and other interviews.

Printed material concerns the career of Rudolph Schaeffer, his school and former students, the San Francisco art scene, and general art topics. Included are articles and a book by Schaeffer, catalogs and other items produced by the Rudolph Schaeffer School of Design, and miscellaneous items about or mentioning Schaeffer and his school. Items of note are announcements of courses taught by Schaeffer in Piedmont and San Francisco prior to the opening of his school, and theatre programs from productions with sets and some costumes designed by Schaeffer in the early 1920s.

Photographs are of artwork, people, places, events, stage designs, and miscellaneous subjects. Artwork includes some designs by Rudolph Schaeffer; people include Schaeffer, his family, friends, and students. Of particular note are a photograph of Frank Lloyd Wright's visit to the Rudolph Schaeffer School of Design, and one of Rudolph Schaeffer and Imogen Cunningham. Places include interior and exterior views of the Rudolph Schaeffer School of Design at its St. Anne Street and Mariposa Street locations. Also included are photographs by Ansel Adams of the home of Ed and Caroline Fey.
Arrangement:
The collection is arranged as 10 series:

Missing Title

Series 1: Biographical Information, 1900-1988 (Box 1; 0.1 linear ft.)

Series 2: Correspondence, 1906-1989 (Box 1, 19; 0.5 linear ft.)

Series 3: Subject Files, 1907-1988 (Boxes 1-2, OV 16; 1.3 linear ft.)

Series 4: Writings, circa 1910-1987 (Boxes 2-6, 15, 19, 21; 4.2 linear ft.)

Series 5: Artwork, 1911-1957 (Boxes 6-15, 19, 21 OV 17; 0.6 linear ft.)

Series 6: Scrapbooks, 1933-1976 (Boxes 6, 14, 19; 0.6 linear ft.)

Series 7: Sound Recordings, 1949-1986 (Boxes 11-13; 1.2 linear ft.)

Series 8: Miscellaneous Records, 1905-1986 (Box 7, 19, 22; 0.8 linear ft.)

Series 9: Printed Material, 1906-1994 (Boxes 7-8, 15, 19, 22; 1.2 linear ft.)

Series 10: Photographs, 1880s-circa 1988 (Boxes 8-10,15, 20, 22, OV 18; 1.8 linear ft.)
Biographical Note:
Rudolph Schaeffer (1886-1988), a proponent of the Arts and Crafts movement, aspired to unite technology, science, and lifestyle in order to live in harmony with nature. An individual with many talents and interests, he was best known for his work in the field of color study and as a teacher and the founder of the Rudolph Schaeffer School of Design in San Francisco.

Born on a farm in Clare, Michigan in 1886, Rudolph Schaeffer displayed musical and artistic talent from a young age. Although he initially wanted to become a professional musician, he began focusing more on art when his musical abilities were compromised by an improperly set broken wrist. Schaeffer received his first formal art training as a high school student and then attended the Thomas Normal Training School in Detroit, where he studied music, art, and design. He continued studying independently, developing interests in calligraphy and metal craft.

In 1907, Schaeffer taught manual training courses in the Columbus, Ohio, public schools. The following summer he traveled to Paris and London. While in London he saw an exhibition of Josef Hoffman's modern interiors that had a great impact on his own design ideas. He then returned to Michigan and taught in schools close to home. In 1909, Schaeffer attended a design course in Minneapolis taught by A. E. Batchelder, director of Throop Polytechnic Institute in Pasadena. Both Batchelder and his course were strong influences on Schaeffer, as was Ralph Johnot, a proponent of Arthur Wesley Dow's design principles. In 1910 Schaeffer joined the faculty of Throop Polytechnic Institute, where he remained for five years.

The U. S. Commission on Education selected Schaeffer to be part of a delegation of twenty-five American teachers sent to Munich for several months in 1914 to investigate the exemplary industrial design curriculum offered in their secondary schools. Schaeffer subsequently expected to begin teaching at the Manual Arts High School in Los Angeles at the start of the 1914 school year, but World War I erupted while he was in Germany and his return to the United States was delayed so long that another teacher had to be hired to fill his place.

In 1915 Schaeffer was a manual training instructor at the California College of Arts and Crafts (formerly the Hopkins School), and taught design and metal crafts at the University of California Berkeley. For a number of years afterwards, he did free lance design work, taught private classes, and ran a small summer school in his Piedmont studio. Schaeffer was a visiting professor at Stanford University in 1918 when he was drafted and sent to drafting and surveying courses by the Army. Between 1917 and 1924 Schaeffer was on the faculty of the California College of Arts and Crafts where he taught design, color, handicrafts, and interior design. During this period he developed a new approach to teaching color and design based on the prismatic color wheel.

During the early 1920s Schaeffer worked as a set designer and as Art Director of Greek Theatre at the University of California at Berkeley, Schaeffer began applying prismatic color theory to set and costume design. He also designed sets for productions in Detroit. In 1925, Schaeffer saw the Paris Exposition and researched interior and stage design while in France.

The Rudolph Schaeffer School of Design which, in its early days was called the Rudolph Schaeffer School of Rhythmo-Chromatic Design, opened on St. Anne Street in San Francisco's Chinatown in 1926. In 1951 the school then moved to Union Street on Telegraph Hill where it remained for nearly a decade. In 1960, the school purchased a former boys' school on Mariposa Street, Portero Hill. Rudolph Schaeffer lived in a small cottage built for him at the rear of the property where he designed and tended a remarkable "Peace Garden."

The Rudolph Schaeffer School of Design was best known for its courses in color and interior design. Schaeffer was the first person in the United States to teach prismatic color theory, is credited with being the first to use the term "interior design" rather than "interior decoration" and the first to incorporate the use of models into interior design coursework. In 1959 the school's courses were expanded from 2 to 3-year programs and a diploma was awarded. Former students include many successful interior designers, textile designers, furniture designers, industrial designers, commercial artists, color consultants, teachers, and master flower arrangers.

In addition to the interior design and color diploma courses, the school offered a summer session, classes for children, a brief lecture series for the general public, and a wide variety of classes including advertising art, architecture and design, art history, art in public schools, calligraphy, color design, color for television, color for weavers, color theory, design, drawing, environmental aesthetics, fashion design, fashion illustration, flower arrangement, industrial design, interior design, Notan, sculpture, space planning, textile design, and weaving. Always struggling financially and sometimes lacking adequate enrollment, the school nevertheless managed to stay open for nearly 60 years. In 1984, the Board of Directors voted to remove Schaeffer from the board and close the school. Two years earlier the board had forced Schaeffer to retire, appointed him Director Emeritus, and brought in a new director charged with making the institution financially solvent, reorganizing the curriculum, and working toward accreditation. Unable to separate himself from the school (though he had done so legally when it was incorporated in 1953), Schaeffer balked and refused to cooperate with plans for revitalizing the institution.

One of the aims of the Rudolph Schaeffer School of Design was to interpret Asian esthetic principles. To this end the East West Gallery was established at the school in 1950. A membership organization, it offered exhibitions, lectures, concerts, and other programs that encouraged cultural integration. Exhibitions alternated between East (Asian art and artifacts from Rudolph Schaeffer's collection or other sources) and West (student work or work of local artists illustrating the influence of the Asian esthetic on contemporary art and design). East West Gallery was a membership organization, the first space of its kind in San Francisco for Asian art and operated in each of the school's locations.

In addition to running the school Schaeffer was involved in many other activities. He wrote several articles about flower arrangement, color, and color theory that were published in popular magazines. In 1935, he published Flower Arrangement Folio I (said to be the first on the subject published in this country) and in 1942 edited and wrote the introduction to Sunset's Flower Arrangement Book by Nell True Welch. Over a period of many years, he worked on several monographs on color, design, and "rhythmo-chromatics." None were ever published.

A sought-after speaker on the subjects of color, interior design, flower arrangement, and myriad other art topics, Schaeffer frequently served as a juror for art exhibitions and flower shows. From the 1930s on, the San Francisco department store Emporium used his services as a color consultant, as did Dutch Boy paints, and numerous textile and clothing manufacturers. Builders also asked Schaeffer to select interior and exterior colors for suburban housing developments.

Schaeffer worked on planning and designing the decorative arts exhibition at the 1939-40 Golden Gate International Exposition. In 1943-44, he participated in the Red Cross's Arts and Skills program, using color therapy with shell-shocked soldiers in a psychiatric unit.

The Rudolph Schaeffer Collection of Asian Art began as a collection of ceramics, both historical and contemporary examples chosen for their form and color, which he used for flower arrangements and in set-ups for still life classes. It soon expanded to include color prints, paintings, screens, and other works of art and portions were exhibited frequently in the East West Gallery. Selections from this collection were exhibited in Kansas City in 1960 and at the Asian Art Museum of San Francisco in 1976.

The City of San Francisco declared June 26, 1986, Schaeffer's 100th birthday, "Rudolph Schaeffer Day" and it was observed with great fanfare. He died at home on March 5, 1988, a few months before his 102nd birthday.
Provenance:
The Rudolph Schaeffer papers were donated in 1991 by Rudolph Schaeffer and the Rudolph Schaeffer School of Design administrator Peter Docili, and in 1999 and 2000 by James Alexander, a friend of both Schaeffer and Docili, who had been storing portions of Docili's estate after his death in 1998, with the assistance of Frances Valesco, a fiber artist and researcher. An addition was received in 2007 by William Woodworth, a close friend and caretaker of Schaeffer's and in 2017 and 2018 by Frances Valesco.
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 requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- California -- San Francisco  Search this
Topic:
Artists -- California -- San Francisco  Search this
Designers -- California -- San Francisco  Search this
Art -- Collectors and collecting -- California -- San Francisco  Search this
Art, Asian  Search this
Art -- Study and teaching  Search this
Artists -- California -- San Francisco  Search this
Authors -- California -- San Francisco  Search this
Color -- Study and teaching  Search this
Genre/Form:
Photographs
Scrapbooks
Diaries
Christmas cards
Designs
Interviews
Sketchbooks
Sketches
Sound recordings
Transcripts
Citation:
Rudolph Schaeffer papers, 1880s-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.scharudo
See more items in:
Rudolph Schaeffer papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e577bb5b-7a69-4e35-a266-06d309085a6a
EDAN-URL:
ead_collection:sova-aaa-scharudo

Correspondence

Collection Creator:
Gross, Chaim, 1904-1991  Search this
Extent:
8.75 Linear feet (Boxes 1-9, 22)
Type:
Archival materials
Date:
1926-1997
Scope and Contents:
Gross's personal and professional correspondence constitutes a rich and substantive record of all aspects of his career and is with family members; friends and colleagues including many artists, architects, writers, and scholars; galleries, museums and other art institutions; synagogues and multiple Jewish philanthropic organizations; publishers; and educational institutions. The correspondence is primarily incoming with scattered outgoing letters from Gross and occasionally Renee Gross. There is often overlap between professional and personal correspondence as relationships with colleagues span many years and often developed a personal tone. Renee Gross's work with philanthropic organizations is also documented to some extent.

Correspondence with family includes five letters from Renee to Chaim Gross, a folder of letters from daughter Mimi Gross and Red Grooms, including eight illustrated letters written while traveling in Italy, Macedonia, Greece, and Yugoslavia in the 1960s, and letters from extended family members.

The series contains a significant amount of correspondence with artists including: twelve letters and cards from Eliot Elisofon containing accounts of his travels in Africa in 1972-1973; letters from Richard and Laurie Graham, recording their impressions of Italy and discussing Graham's success; and four letters from Milton and Cecille Hebald written from Italy, discussing Milton Hebald's work and Gross's work being cast at the Nicci Foundry. Letters and postcards from filmmaker Lewis Jacobs relate to the printing of Tree Trunk to Head and The Sculptor Speaks. Letters from photographer Arnold Newman include two from Florida in the early 1940s where Newman was establishing a portrait studio. Letters from Elias Newman and Moses Soyer include descriptions of their experiences as young students at the Educational Alliance Art School.

In addition to correspondence from artists in the named files, general correspondence files for each letter also house many social replies, postcards, and scattered business and personal letters from artists including: Philip Evergood, Eugenie Gershoy, Harry Glassgold, Louis Held, Edward and Jo Hopper, Mervin Jules, Maurice Kallis, Jacob Kainen's wife Ruth Kainen, Yasuo Kuniyoshi, Robert Laurent, Michael Lawrence, Legh Myers, George Nobe, Elliot Offner, Abraham Rattner and Esther Gentle, Girolamo Piccoli, Charles Salerno, Satyajit Shergil, Mia Solow, May Stevens, Paul Suttman, Hans Va de Bovenkamp, Egon Weiner, Warren Wheelock, Jean Woodham, Hale Woodruff, Herbert and Laura Ziegler, and Marguerite and William Zorach.

Correspondence with architects, writers, and scholars include letters from Chaim Potok in his capacity as editor with the Jewish Publication Society of America, referencing the publication of The Book of Isaiah; letters from Jack C. Rich related to his published writings on sculpture; letters from Yiddish writer and poet Shea Tenenbaum; and a folder of letters from art historian Roberta K. Tarbell, who wrote the essay for Gross's 1977 retrospective at the Jewish Museum.

Correspondence with publishers documents the publication of books about Gross or featuring his work. Letters from Beechurst Press, Inc., include the contract for Fantasy Drawings in 1956; related correspondence with Indiana University includes letters from Alfred Kinsey and the Institute for Sex Research referencing Gross's drawings included in the book and used in research at the institute. Correspondence with Harry N. Abrams, Inc., documents the publication of Chaim Gross by Frank Getlein (1974) and Chaim Gross: Watercolors and Drawings by Alfred Werner (1979).

Correspondence with noted book designer Abe Lerner, relates to design work Lerner did for publications containing artwork by Gross, primarily for the Jewish Publication Society of America, including The Book of Isaiah and a book on Gross's Ten Commandments. Correspondence with printer Marcel Salinas documents Salinas's assistance in the production of Gross's suite of lithographs for The Jewish Holidays in 1969.

Gross's work for the Works Progress Administration is documented through correspondence, contracts, payment vouchers, and related documentation. The Federal Art Project correspondence includes a copy of Gross's Government Services Administration transcript of employment up to September 1940 and letters relating to Gross's winning entry for the competition to execute artwork for the Post Office in Irwin, Pennsylvania. The Treasury Relief Art Project files document Gross's commissions for the Post Office Department building and the Apex Building in Washington, D. C. The files include scattered personal letters from Ed Rowan and Forbes Watson. The New York World's Fair (1939) folder contains a contract for Gross's work for the France Overseas and Finnish Buildings, and related correspondence and financial records. Also documented are Gross's participation in juries for national competitions and his work as a consultant for the selection of sculptors to execute work on federal buildings.

Correspondence with museums and galleries provides documentation of commissions and sales of Gross's artwork, many solo and group exhibitions in which he was represented, and multiple loans and gifts to various museums. These include Gross's 1977 retrospective at the Jewish Museum, exhibitions at the Smithsonian's American Art Museum, the Hirshhorn Museum and Sculpture Garden, and the Whitney Museum of American Art. Correspondence with Bella Fishko and Forum Gallery documents Forum Gallery's representation of Gross's artwork from 1961 through the early 1980s and indicates the lucrative nature of Gross's exhibitions during that period. Letters include account statements, appraisals, records of sales and gifts of Gross's work, and copies of correspondence relating to loans of work for exhibitions at other galleries and museums.

Correspondence with Warren Robbins documents Robbins's efforts to engage the involvement of artists in establishing the Museum of African Art. Purchases of Gross's work in the early 1940s by museums as prominent as the Metropolitan Museum of Art and the Museum of Modern Art, are also documented here, as are Gross's gifts and loans to both museums, his involvement with the Museum of Modern Art's education committee, and his loans from his personal collection to the National Gallery of Art's first exhibition of African art in 1970.

References to many commissions and projects appear throughout the series, including Gross's six bronze panels entitled Six Days of Creation for Temple Sharray Tefila in New York City, and his Ten Commandments for the sanctuary of the International Synagogue at John F. Kennedy Airport, New York. Correspondence with Harold and Kitty Ruttenberg relates to commissions for Temple Sinai in Pittsburgh and others and is notable also in that it includes relatively frequent replies from Renee and Chaim Gross which provide details about events in their lives and Gross's career. Correspondence with the United Nations documents Gross's commissions for watercolors and serigraph prints reproduced in three first day covers and stamps issued for the United Nations.

Correspondence also documents Gross's work as an educator with the Educational Alliance, and with the New School for Social Research where Gross acted in various capacities, including as a teacher, donor, and jury member, and worked to support the school's plan to establish an expanded art center program with residential facilities to serve as a resource for the whole of New York City.

Gross's involvement in many societies and associations is also documented, including his donations to, and service on the board of trustees of the Fine Arts Work Center in Provincetown and the Provincetown Art Association; his election to associate and academician of the National Academy of Design; and his membership in the National Institute of Arts and Letters. Correspondence with the Sculptor's Guild Inc., and with Fimi Samour, documents the guild's activities during the 1950s-early 1980s, including exhibitions, memberships, and financial status. Sculptors Guild correspondence includes letters from artist Renata Schwebel.
Arrangement:
Correspondence is arranged alphabetically. Individuals and organizations represented in five or more items are arranged in named files; others are arranged alphabetically in general files for each letter. Files for correspondents with no given surname, or whose names are illegible or unidentified, are arranged toward the end of the series, followed by condolence letters written to Renee Gross on the death of Chaim Gross.
Collection Restrictions:
Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Chaim Gross papers, 1920-2004. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.groschai, Series 2
See more items in:
Chaim Gross papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91a519021-7075-46a4-a139-050a37bed84a
EDAN-URL:
ead_component:sova-aaa-groschai-ref19

Balcomb and Gertrude Greene papers

Creator:
Greene, Balcomb, 1904-1990  Search this
Names:
United States. Works Progress Administration  Search this
Gallatin, A. E. (Albert Eugene), 1881-1952  Search this
Greene, Gertrude, 1904-1956  Search this
Greene, Terryn  Search this
Extent:
9.8 Linear feet
Type:
Collection descriptions
Archival materials
Short stories
Collages
Photographs
Poems
Theses
Articles
Interviews
Lecture notes
Sound recordings
Drawings
Sketchbooks
Video recordings
Date:
circa 1880s-2009
Summary:
The Balcomb and Gertrude Greene papers, circa 1880s-2009, bulk circa 1905-1990, measure 9.8 linear feet. Balcomb Greene's career as a painter, educator, and writer - and to a lesser extent his personal life - is documented by biographical material, letters, subject files,writings, artwork, audio-visual recordings, printed material, and photographs. Documentation about sculptor Gertrude Greene, from 1926 until her death in 1956, consists of printed material, photographs, two letters to her, and a brief handwritten list of paintings and constructions.
Scope and Content Note:
The Balcomb and Gertrude Greene papers, circa 1880s-2009, bulk circa 1905-1990, measure 9.8 linear feet. Balcomb Greene's career as a painter, educator, and writer - and to a lesser extent his personal life - is documented by biographical material, letters, subject files,writings, artwork, audio-visual recordings, printed material, and photographs. Documentation about sculptor Gertrude Greene, from 1926 until her death in 1956, consists of printed material, photographs, two letters to her, and a brief handwritten list of paintings and constructions.

All biographical material relates to Balcomb Greene. Letters are almost exclusively incoming letters; two copies of outgoing letters written by Terryn Greene are included. Those addressed to Balcomb Greene regard articles, his will, an appraisal of a painting by him, and greeting cards with notes from friends. The two letters addressed to Gertrude Greene are photocopies. One from A. E. Gallatin concerns her work selected for the permanent collection of the Museum of Living Art at New York University; the other, a fragment from an unidentified correspondent, is about American Abstract Artists dues and exhibitions. The letters addressed to Terryn Greene concern her husband's career or mention him.

Subject files relate to activities and topics of interest to Greene or aspects of Greene's career; some concern estate matters. Of particular interest are: "Balcomb and Gertrude Greene in the WPA," consisting of Terryn Greene's research correspondence on the subject; and a file documenting a Judith Rothschild Foundation grant for conservation of paintings damaged in the 1996 fire that destroyed Balcomb Greene's studio.

Writings are by Balcomb Greene, Gertrude Greene, and other authors. Balcomb's writings include articles, novels, short stories, poems, journal entries, lecture notes, student writings, and a thesis. Gertrude Greene's writings consist of a handwritten list of paintings and constructions, noting the dimensions, date, and price of each piece. The writings of other authors are about Balcomb and Gertrude Greene. They include notes for an interview, a poem, student papers, and a thesis.

Art work consists of a collage probably by Balcomb Greene, and a sketchbook containing two of his drawings dated January 1976. Another drawing is signed [H?.] R. Balcomb Greene's register of paintings documents each completed painting on a separate sheet containing a small photograph or sketch, title, date of execution, and code or negative number, along with notes relating to exhibitions, loans, and ownership; some sheets bear the notation "destroyed." The register is incomplete, and the surviving portion bears evidence of the 1996 fire that gutted his studio. The least damaged portion documents works from 1941-1948, 1963-1964, and 1980-1982; the remaining part of the register consists of partial pages that are missing titles, dates of execution, or other salient information.

Exhibition catalogs and articles from newspapers and periodicals represent the majority of the printed material about or mentioning Balcomb and Gertrude Greene. In addition, there are articles by Balcomb published in a number of periodicals. Museum publications, annual reports, bulletins and newsletters mention the Greenes. Also found are issues of Art Front, 1934-1938 (Balcomb served on the editorial board and contributed articles), and his well-used copy of Modern Art by Katherine S. Drier.

Audio-visual recordings consist of interviews with Balcomb Greene and a "McCarthy tape" (Balcomb and Terryn helped organize "Montauk's Day for McCarthy"). Among the video recordings is a videocassette of Greene's 1990 memorial service.

Photographs are of art work, events, exhibition installations, miscellaneous subjects, people, and places. Art work of both Balcomb and Gertrude is documented. Among the photographs of people are images of Balcomb Greene, Gertrude Greene, Terryn Greene, family, friends and other individuals (identified and unidentified). Greene family photographs, some surviving from the 19th century, portray three generations. Photographs of events include documentation of the damage caused by the 1996 fire that destroyed Balcomb Greene's studio. Installation photographs document exhibitions that featured Balcomb Greene, the couple, and Gertrude Greene. Of particular interest is a view of Gertrude's contribution to the American Abstract Artists' 1937 show at Squibb Gallery. Miscellaneous subjects are Greene's Rolls Royce and pets. Places recorded include Greene's boyhood homes and churches, the house Balcomb built at Montauk, Gertrude's studio, and travel pictures of Europe and Asia. Also found are a small number of negatives, 35-mm slides, and color transparencies of art work, miscellaneous subjects, and people.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1926-1981 (Box 1; 0.2 linear ft.)

Series 2: Letters, 1936-2005 (Box 1; 3 folders)

Series 3: Subject Files, 1939-2008 (Box 1; 0.2 linear ft.)

Series 4: Writings, circa 1927-1984 (Boxes 1-3; 2.1 linear ft.)

Series 5: Art Work, 1976 (Box 3; 2 folders)

Series 6: Register of Paintings, undated (Box 3; 0.4 linear ft.)

Series 7: Printed Material, circa 1930-2009 (Boxes 4-7, 11, OV 12; 3.9 linear ft.)

Series 8: Audio-visual Recordings, 1963-1990 (Box 7; 0.3 linear ft.)

Series 9: Photographs, circa 1880s-1996 (Boxes 7-11; 2.6 linear ft.)
Biographical Note:
Balcomb (1904-1990) and his wife Gertrude (1904-1956) were painters in New York, N.Y. John Wesley Greene (known professionally as Balcomb Greene), born May 22, 1904 in Millville, New York, was the youngest child of Reverend Bertram Stillman Greene, a Methodist minister. After his wife died in 1907, Reverend Greene and the children moved several times when he accepted assignments at small town churches in Iowa, South Dakota, and Colorado.

The recipient of a scholarship for sons of Methodist ministers, Greene entered Syracuse University in 1922, intending to become a minister. He studied philosophy, psychology, literature, and art, eventually deciding to pursue a career as a writer. When visiting the Metropolitan Museum during his senior year, Greene was introduced to Gertrude Glass by her cousin. They married soon after his graduation in 1926.

The newlyweds moved to Austria where he had a fellowship to study psychology at the University of Vienna. Greene was very interested in Freud's work and hoped to become his student; although he attended Freud's lectures and met the eminent psychologist once, this ambition was not realized. After returning to New York in 1927, Greene began studying for a master's degree in English literature at Columbia University. He specialized in the novel, and wrote three (none were published). When his thesis about prostitutes as portrayed in seventeenth century literature was submitted, Greene's major professor was on sabbatical; although the subject had been approved, the interim replacement rejected it as unsuitable. Greene left Columbia without obtaining a degree.

Greene then accepted a position at Dartmouth College where he taught literature from 1928-1931. The Greenes spent summers together in the city and visited frequently throughout the academic year. He continued writing and in 1930 began painting. Because there were already two artists named John Green then in New York, Greene soon adopted the name Balcomb (his maternal grandmother's maiden name). Although he was known as Balcomb for the remainder of his life, his name was never changed legally.

Balcomb Greene's first solo exhibition was held at Dartmouth College in 1931. After his resignation from the Dartmouth faculty in 1931, Balcomb and Gertrude spent a year in Paris. She found a studio and set to work. He planned to write, but was distracted by the desire to paint. He began independent study at the Académie de la Grande Chaumière and in 1932 exhibited his work in Paris. Throughout the 1930s and into the 1940s Greene produced very flat geometric abstractions, adding biomorphic and anthropomorphic forms over time. By the mid-1940s, he found himself bored by pure abstraction and introduced figures, focusing on mass and space rather than line.

Greene quickly established himself as an artist, developed a wide circle of friends and was recognized as a leader of the abstract movement. He and Gertrude were both drawn to political causes that affected artists; along with friends they began the Unemployed Artists' Group (which later became the Artists' Union) and staged public demonstrations demanding government assistance so that artists would not be completely dependent on private patronage. He published articles in Art Front, the magazine of the Artist's Union, and served on its editorial board between 1935 and 1936. Balcomb and Gertrude Greene were among the founding members of American Abstract Artists; he served as the group's first chairman.

Like many artists during the Great Depression, Balcomb Greene found it very difficult to maintain a steady income. During this period he held many different jobs, among them: writing for the sensationalist newspapers Broadway Brevities and Graft, serving on the crew of a schooner searching for pirate gold in the South Pacific, and working at the non-profit Emily Francis Contemporary Gallery. Eventually, he secured a teaching position with the Federal Art Project. He later switched to the mural section where assignments included painting murals for the Williamsburg Housing Project in Brooklyn and the Federal Hall of Medicine at the 1939 World's Fair, and designing a stained glass window for a school in the Bronx.

Because he did not want to support his career by teaching painting, in 1940 Balcomb Greene began graduate work in art history at the Institute of Fine Arts, New York University. He earned a master's degree in 1942 and that same year began teaching history of art and culture at Carnegie Institute of Technology, a position he held until 1959. Gertrude set up a studio in their Pittsburgh home, but continued to maintain her New York studio, commuting between the two cities until war conditions made the trip too difficult. They returned to New York each summer, and in 1947 bought property on Long Island at Montauk Point where Balcomb constructed a modern house of cement blocks.

In addition to teaching and painting, Greene continued to write. Several articles about art and philosophy appeared between 1936 and 1950 in publications such as Art Front, College Art Journal, Art News, and Art Journal. He also wrote many poems. During his tenure at Carnegie Tech Balcomb Greene worked on but did not complete a book tentatively titled "The Villain and the School" and formulated ideas for another.

While Gertrude was terminally ill with cancer, and after her death in 1956, Balcomb reduced his teaching commitments, staying in Pittsburgh for only one semester each year. After retiring in 1959, he painted at Montauk and traveled. While in Paris, Greene met journalist Terryn Trimpen, whom he married in 1961.

Balcomb Greene was represented by Bertha Schaefer Gallery, Saidenberg Gallery and ACA Gallery, in New York, and by the Harmon-Meek Gallery in Naples, Florida. He exhibited widely, participating in the annual exhibitions of the Whitney Museum of American Art and Art Institute of Chicago, and in group shows at the Walker Art Center, Brooklyn Museum, and other venues. Solo shows included exhibitions at the Forum Gallery, ACA Gallery, and the Museum of Modern Art in New York; Fairweather-Hardin Gallery, Chicago; and the Oceanographic Institute and Harmon-Meeks Gallery in Florida. Greene's work is in the permanent collections of many museums, among them the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art, and the Corcoran Gallery of Art.

During the last five years of his life, Balcomb Greene was in frail health and unable to paint. He died November 12, 1990 at his Montauk Point home.

Gertrude Glass (who worked as an artist using her married name Gertrude Greene) was the daughter of Siegfried and Berta Glass, prosperous Latvian immigrants who owned a Brooklyn department store. At age 18, Gertrude and an older sister left home and organized a pre-school. From 1924 to 1928, Gertrude attended evening sculpture classes at the newly opened Leonardo Da Vinci Art School, a very traditional school in Manhattan that offered free instruction. Although the school itself was conservative, there Gertrude met and identified with a group of fairly radical students who were interested in the abstract art then emerging.

Glass and Greene were married in 1926 and spent the next year in Vienna. Upon returning to New York, she continued to make sculpture. Once they relocated to New Hampshire Gertrude was able to have her own sculpture studio. New Hampshire did not suit her and she gradually drifted back to the art world of New York. After Balcomb resigned from the Dartmouth faculty in 1931, the couple spent a year in Paris. They met many artists and frequented galleries where they saw the latest contemporary art. Gertrude worked on her sculpture and Balcomb, who had planned to write, began concentrating on painting; this was the only time the two shared a studio. When they moved to Pittsburgh, Gertrude kept her New York studio, expecting to commute regularly between the two cities, but war constraints soon made that plan impractical.

Gertrude Greene was active in liberal political causes, especially ones that affected artists and encouraged the formation of WPA programs to help struggling artists. She was an active member of the Federation of Painters and Sculptors, the Artists' Union, and a founding member of American Abstract Artists. As AAA's first paid employee, Gertrude served as gallery attendant. Before moving to Pittsburgh, both Greenes were very active on AAA committees, worked to further acceptance of abstract art, and picketed on many occasions. Typical of AAA actions was a 1937 demonstration against Museum of Modern Art exhibition policies that gave short shrift to abstract work by American artists.

Gertrude Greene was among the very earliest of American artists - quite possibly the first - to produce non-objective relief sculptures in the early 1930s. Over time, she absorbed Cubist tradition and ideas of the Russian Constructivists, synthesizing them into her own work. By the 1940s, she had become interested in Mondrian and Neo-Plasticism, influences that are reflected in her constructions of the period. Her final sculpture was produced in 1946 and for the remainder of her career she focused exclusively on abstract painting.

She participated in many group exhibitions, the first of which was at Wildenstein Gallery in 1945. Grace Borgenicht Gallery presented the first solo exhibition of Gertrude Greene's work in 1952, and another was held at the Bertha Schaefer Gallery in 1955. In 1982, there was a major retrospective of her work at ACA Gallery. Gertrude Greene's work is represented in the permanent collections of the Museum of Modern Art, Philadelphia Museum of Art, and the Berkshire Museum in Pittsfield, Mass.

Gertrude Greene's health began deteriorating in 1956; eventually, cancer was diagnosed. Later that year, on November 25, she died at a New York City hospital.
Related material:
Among the Bertha Schaefer papers and gallery records, 1914-1975, owned by the Archives of American Art are 58 letters from Balcomb Greene about sales and exhibitions (reel 271), and a scrapbook containing printed material about him (reel 42).

The holdings of the Archives of American Art include several interviews with Balcomb Greene. In 1972, he was interviewed by Paul Cummings for the Archives of American Art's oral history program (reel 4210). Greene is included among the Karl E. Fortess taped interviews with artists conducted 1963-1985 (not transcribed). Marian L. Gore's "Art Scene" interviews aired on Los Angeles radio station KPFK, 1962-1964, include one with Balcomb Greene (not transcribed). An interview with Balcomb Greene (transcribed) is among the Brooklyn Museum interviews of artists conducted by Arlene Jacobowitz, circa 1965-1985. The Anne Bowen Parsons collection of interviews on art, 1967-1968, contains an interview with Balcomb Greene (transcribed). Susan C. Larsen's interview with Balcomb Greene is part of oral history interviews relating to the American Abstract Artists Group, 1973-1978 (not transcribed).

Also available at the Archives of American Art is a video recording (VHS videocassette) "Balcomb Greene: 50 Years of Painting, Harmon Gallery," edited and directed by George Mauro, 1982.
Provenance:
Donated in 2009 by Terryn Trimpen Greene, widow of Balcomb Greene.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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.
Topic:
Educators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Art -- Study and teaching  Search this
Genre/Form:
Short stories
Collages
Photographs
Poems
Theses
Articles
Interviews
Lecture notes
Sound recordings
Drawings
Sketchbooks
Video recordings
Citation:
Balcomb and Gertrude Greene papers, circa 1880-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.greebalc2
See more items in:
Balcomb and Gertrude Greene papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d511d161-4c2b-4b76-8ba7-32ae83aa85af
EDAN-URL:
ead_collection:sova-aaa-greebalc2
Online Media:

Agency history, 1976-

Creator:
Hirshhorn Museum and Sculpture Garden Office of Public Affairs  Search this
Subject:
Lawrence, Sidney 1948-  Search this
Sawyer, Donna Drew  Search this
Riera, Gabriel  Search this
Wailoo, Chris  Search this
Carnes, Kelly  Search this
Peck, Allison  Search this
Watt, Hilary-Morgan  Search this
Gibbs, Kate  Search this
Hirshhorn Museum and Sculpture Garden Office of Public Affairs  Search this
Type:
Mixed archival materials
Date:
1976
1976-
Topic:
Art museums  Search this
Art, Modern  Search this
Museums--Public relations  Search this
Museums--Press coverage  Search this
Local number:
SIA AH00178
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_221107

Agency history, 1973-

Creator:
Hirshhorn Museum and Sculpture Garden Office of Public Engagement  Search this
Subject:
Bush, Teresia  Search this
Lawson, Edward P  Search this
Powell, Linda  Search this
Gold, Lisa  Search this
Hull, Kevin  Search this
Kalinovska, Milena  Search this
Hirshhorn Museum and Sculpture Garden Department of Art and Public Programs  Search this
Whitney Museum of American Art  Search this
Hirshhorn Museum and Sculpture Garden Department of Education  Search this
Hirshhorn Museum and Sculpture Garden Education Department  Search this
Hirshhorn Museum and Sculpture Garden Department of Public Programs  Search this
Type:
Mixed archival materials
Date:
1973
1973-
Topic:
Museums--Educational aspects  Search this
Art museums  Search this
Art, Modern  Search this
Local number:
SIA AH00177
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_221106

Agency history, 1992-

Creator:
Hirshhorn Museum and Sculpture Garden Curatorial Department  Search this
Subject:
Benezra, Neal David 1953-  Search this
Zilczer, Judith  Search this
Brougher, Kerry  Search this
Aquin, Stéphane  Search this
Hirshhorn Museum and Sculpture Garden Department of Painting and Sculpture  Search this
Hirshhorn Museum and Sculpture Garden Department of Public Programs/Curatorial Division  Search this
Hirshhorn Museum and Sculpture Garden Assistant Director for Art and Public Programs  Search this
Hirshhorn Museum and Sculpture Garden Office of the Director of Arts and Programs  Search this
Type:
Mixed archival materials
Date:
1992
1992-
Topic:
Art museums  Search this
Art museum curators  Search this
Local number:
SIA AH00205
Data Source:
Smithsonian Institution Archives
EDAN-URL:
edanmdm:siris_arc_240827

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