Search Results

Creator:

Refregier, Anton, 1905-  Search this

Names:

ACA Galleries  Search this

Bard College -- Faculty  Search this

Gosudarstvennyĭ Ėrmitazh (Russia)  Search this

National Council of American-Soviet Friendship (U.S.)  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

United States. Works Progress Administration  Search this

Woodstock Artists Association (Woodstock, N.Y.)  Search this

World Peace Council  Search this

De Diego, Julio, 1900-  Search this

Dreyfuss, Henry, 1904-  Search this

Elisofon, Eliot  Search this

Evergood, Philip, 1901-1973  Search this

Fast, Howard, 1914-2003  Search this

Geddes, Norman Bel, 1893-1958  Search this

Greenwood, Marion, 1909-1970  Search this

Kent, Rockwell, 1882-1971  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Morley, Eugene, 1909-1953  Search this

O'Higgins, Pablo, 1904-  Search this

Packard, Emmy Lou, 1914-1998  Search this

Randall, Byron, 1918-1999  Search this

Refregier, Lila  Search this

Siqueiros, David Alfaro  Search this

Yavno, Max  Search this

Extent:

35.9 Linear feet

Type:

Collection descriptions

Archival materials

Travel diaries

Greeting cards

Interviews

Cartoons (working drawings)

Scrapbooks

Transcripts

Photographs

Diaries

Sketches

Place:

Chile

Soviet Union

Guatemala

Mexico

Date:

circa 1900-circa 1990

Summary:

The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, 15 diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, 10 scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Scope and Content Note:

The papers of Woodstock area painter, muralist, and designer, Anton Refregier (1905-1979) date from circa 1900 to circa 1990 and measure 35.9 linear feet. The collection records Refregier's early commercial work and murals for the Works Progress Adminstration (WPA) and documents his career through to the 1970s with records of commissions for many public and private buildings, exhibitions in the United States and abroad, teaching positions, essays and publications, and extensive travel, particularly to the Soviet Union and Mexico. The collection contains scattered biographical material, personal and business correspondence, notes and writings, diaries and journals, mural and tapestry files, exhibition files, personal business records, printed material, scrapbooks, artwork including sketches and cartoons for murals, and photographs of Refregier, his friends, family and travels.

Biographical material contains legal records such as Refregier's will and marriage and death records, passports, resume material and 2 interview transcripts.

Correspondence, both chronological and alphabetical, constitutes almost a third of the collection and documents all aspects of Refregier's career including his work for the WPA, private commissions, representation by ACA Galleries, his involvement with groups such as the Woodstock Artists Association and his teaching work for institutions such as Bard College. Also documented are his involvement with local political groups and international organizations such as the National Council of American-Soviet Friendship and the World Peace Council, and travels including visits to the Soviet Union. Notable correspondents include Henry Dreyfuss, Philip Evergood, Rockwell Kent, Emmy-Lou Packard, and Byron Randall. Correspondence also includes family letters written primarily by Refregier to Lila Refregier, in addition to greeting cards received by the Refregier family, many of which contain original arwork.

Writings are primarily by Refregier and include drafts of many essays and autobiographical writings, in addition to copies of published works including Natural Figure Drawing, An Artists Journey and Sketches of the Soviet Union.

The collection contains diaries and journals from 12 years in various formats including published and handmade day planners and typed and handwritten journal entries. They include sketches and primarily record travel and daily activities including specific projects such as the New York World's Fair mural (1938-1939).

Mural and Tapestry files document individual commissions bid on and/or completed by Refregier. The creation of the Rincon Annex Post Office mural and subsequent controversies over its subject matter are well-documented here, as are many of Refregier's commissions for banks, hospitals, hotels, shopping centers, and schools.

Exhibition files document at least 15 of Refregier's exhibitions, including his first one-man show at ACA Galleries (1942) and his exhibition of paintings at the Hermitage Museum (1967) in what was then Leningrad.

Personal business records contain addresses of contacts. Scattered records referencing market values for Refregier's work can be found throughout the series in records such as bills and receipts, financial notes and tax records.

Printed material provides extensive coverage of Refregier's entire career through announcements, invitations, catalogs, and news clippings. His interests in art, literature, music, theater and politics are also well-represented in these files.

The collection contains 10 scrapbooks, mostly in fragmented condition, which contain a mixture of photographs, sketches and other artwork, notes and fragments of writings, and printed material. The scrapbooks document a variety of subjects including Refregier's family life, travels to Guatemala and the Soviet Union, and the artist at work.

Artwork consists primarily of artwork by Refregier in the form of mural design sketches and cartoons in various media, including pencil, ink and pastel, in addition to 21 sketchbooks, many of which also contain journal entries and notes. Also found here are prints and reproductions of Refregier's "Peace card" block engravings for every year from 1950-1973, with the exception of 1970.

Photographs document all phases of Refregier's career and include family photographs dating from circa 1900, photos of Refregier in the studio including work for the WPA, Refregier and other artists and individuals at events and parties from the 1940s-1970s, travel snapshots probably taken in Chile, Guatemala, Mexico, and the Soviet Union, and photographs of artwork and installations. Individuals pictured include Julio de Diego, Marion Greenwood, Rockwell Kent, Pablo O'Higgins and David Siqueiros; also, a series of press photographs by Albert A. Freeman pictures Refregier with Howard Fast, Norman Bel Geddes, Marion Greenwood, John Kingsbury, Yasuo Kuniyoshi and Harry Stockwell. One photograph by Eliot Elisofon, 2 by Eugene Morley and 4 by Max Yavno can also be found here.

Arrangement:

The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Material, 1925-1980 (Box 1; 0.25 linear ft.)

Series 2: Correspondence, 1912-circa 1990s (Boxes 1-11, 36, OVs 38, 45; 10.2 linear ft.)

Series 3: Writings, circa 1930s-circa 1970s (Boxes 11-14, OV 45; 3.3 linear ft.)

Series 4: Diaries and Journals, 1923-1979 (Box 15; 0.6 linear ft.)

Series 5: Mural and Tapestry Files, circa 1930s-circa 1970s (Boxes 15-18, 36, OVs 38, 45, 46, RD 42; 3.65 linear ft.)

Series 6: Exhibition Files, 1942-1981 (Boxes 18-19; 0.6 linear ft.)

Series 7: Personal Business Records, 1920s-1980s (Boxes 19-20; 1.8 linear ft.)

Series 8: Printed Material, circa 1920s-1980s (Boxes 21-28, 36; 7.4 linear ft.)

Series 9: Scrapbooks, 1930s-1960s (Boxes 28, 37, BV 47; 1.1 linear ft.)

Series 10: Artwork, circa 1930s-circa 1970s (Boxes 28-30, 36, OVs 40, 41, RDs 42-44; 3.5 linear ft.)

Series 11: Photographic Material, ca. 1900-1980s (Boxes 31-35, 39; 4.5 linear ft.)

Biographical Note:

Russian-born Woodstock painter Anton Refregier (1905-1979) immigrated to the United States in 1920. Refregier was well-known for his sometimes controversial social realist murals for the WPA.

After an apprenticeship to the sculptor, Vasilief, in Paris, Anton Refregier attended the Rhode Island School of Design from 1920-1925 and studied with Hans Hofmann in Germany in 1927. He had his first one-man show at ACA Galleries in New York City in 1942 and settled in Woodstock, New York, with his wife, Lila, and three children Anton, Jr., Brigit and Aleksandre, where he became a prominent member of the artist community.

Refregier completed several social realist murals for the federal Works Progress Adminstration (WPA) program, including one at the New York Worlds Fair in 1939 and the controversial Rincon Annex Post Office mural in San Francisco begun in 1941. He also completed interior design installations for businesses such as the nightclub, Cafe Society Uptown, and the restaurant, The Cookery, in New York City. In addition to being an easel and mural painter Refregier worked in tapestry, mosaic, ceramic, and collage, and completed many commissions for hotels, banks, hospitals, restaurants, synagogues, supermarkets and deparment stores throughout the country.

Refregier taught at various institutions including Stanford University, the University of Arkansas, and Bard College and his publications inlcude Natural Figure Drawing (1948), An Artist's Journey (1965), and Sketches of the Soviet Union (1978). He traveled regularly to the Soviet Union to explore and exchange ideas about art and culture and as a representative of the World Peace Council.

Anton Refregier died in Moscow in October 1979 while visiting the Soviet Union. His work can be found in many museums including the Corcoran Gallery of Art, the Metropolitan Museum, the San Francisco Museum of Art, and the Whitney Museum of American Art.

Related Material:

Also found in the Archives of American Art are an oral history interview with Anton Refregier, 1964, Nov. 5 by Joseph Trovato; and Papers regarding Anton Refregier mural controversy, 1953.

Provenance:

Donated 1983 by Lila Refregier, widow of Anton Refregier, and in 1992 by Brigit R. Sutton, Refregier's daughter.

Restrictions:

Use of original papers requires an appointment.

Rights:

Authorization to quote or reproduce for purposes of publication requires written permission from Bridget R. Sutton via Bridget's son, Tim Sutton. Contact Reference Services for more information.

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:

Tapestry  Search this

Art -- Study and teaching  Search this

Political clubs  Search this

Muralists -- New York -- Woodstock  Search this

Art -- Commissioning  Search this

Painters -- New York (State) -- Woodstock  Search this

Mural painting and decoration -- Archival resources -- 20th century  Search this

Designers -- New York (State)  Search this

Artists' studios -- Photographs  Search this

Genre/Form:

Travel diaries

Greeting cards

Interviews

Cartoons (working drawings)

Scrapbooks

Transcripts

Photographs

Diaries

Sketches

Citation:

Anton Refregier papers, circa 1900-circa 1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.refranto

See more items in:

Anton Refregier papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9545f99ed-0a65-4626-904d-8dda5c569fcf

EDAN-URL:

ead_collection:sova-aaa-refranto

Container:

Box 1 of 2

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 03-145, Hirshhorn Museum and Sculpture Garden, Office of the Registrar, Loan Records

See more items in:

Loan Records

Loan Records / Box 1

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa03-145-refidd1e180

Container:

Box 1 of 1

Type:

Archival materials

Collection Citation:

Smithsonian Institution Archives, Accession 08-057, Smithsonian American Art Museum, Curatorial Office, Exhibition Records (Declined)

See more items in:

Exhibition Records (Declined)

Exhibition Records (Declined) / Box 1

Archival Repository:

Smithsonian Institution Archives

EDAN-URL:

ead_component:sova-sia-fa08-057-refidd1e1312

Collection Creator:

Cornell, Joseph  Search this

Type:

Archival materials

Date:

1954-1986

Scope and Contents note:

Subseries consists of correspondence sent and received by Benton in the administration of Cornell's residual estate, as well as some printed material and photographs that were accumulated in the same files. Correspondents include: lawyers, collectors, dealers, galleries, museums, curators, scholars, writers, art critics, artists, admirers of Cornell, the executors of Cornell's estate, and charitable institutions, as well as some of Cornell's former "helpers," friends, and acquaintances.

Correspondence generally relates to the exhibition, loan, appraisal, auction, and sale of Cornell art work. It documents, in particular, Cornell exhibitions at the ACA Galleries, Art Institute of Chicago, Castelli Feigen Corcoran Gallery, Hopper House, Washburn Gallery, and Washington University in St. Louis; and the major Cornell retrospectives, "Joseph Cornell" at the Museum of Modern Art (November 1980-January 1981) and "Joseph Cornell: An Exploration of Sources" at the National Museum of American Art (November 19, 1982-February 27, 1983). Correspondence also relates to the disposition of Cornell material and art work, including donations of his papers, books, records, and/or source material to various cultural institutions (such as the Anthology Film Archives, Museum of Modern Art, Archives of American Art, and National Museum of American Art, among others), and gifts of art work to various museums and galleries (such as Meadow Brook Art Gallery at Oakland University, Mead Art Gallery at Amherst College, and Williams College Museum of Art, among others). Correspondence also concerns Benton's gifts of art work (particularly, collages and book objects), source material, memorabilia, and copies of some of Cornell's papers to various individuals.

Correspondence documents Benton's many efforts to continue Cornell's legacy and to preserve his memory, including her monetary donations to charitable institutions in memory of her brothers; her attempts to correct misinformation and misrepresentations of Cornell and his family published in various articles (as in a letter to New York Magazine correcting a mistake about the nature of Robert's handicap in an article written by Thomas Hess); and her concern to have the right person do a "Cornell book" (as reflected in correspondence with Wayne Andrews, Dore Ashton, Lynda Roscoe Hartigan, Diane Waldman, and Don Windham). Correspondence also documents her role in facilitating research on Cornell, including that of graduate students, such as Sherry Friend and Helen Haroutanian ( See also Series 9), and that of scholars such as David Porter; her work organizing and cataloging Cornell's papers and source material; and the various requests she fielded for information about or authentication of certain Cornell works.

Arrangement note:

Benton organized the correspondence into files according to correspondent, and the files in alphabetical order according to name of institution or surname of individual. Items in each file were typically accumulated in reverse chronological order. When only a few items were associated with a correspondent, Benton organized these into general alphabetical files. The existing organization has, for the most part, been maintained.

Collection Restrictions:

Use of the original papers requires an appointment.

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:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

Identifier:

AAA.cornjose, Subseries 10.1

See more items in:

Joseph Cornell papers

Joseph Cornell papers / Series 10: Joseph Cornell Estate Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96d626f96-9851-4cbe-86f3-535067cd632c

EDAN-URL:

ead_component:sova-aaa-cornjose-ref1047

Collection Creator:

Cornell, Joseph  Search this

Container:

Box 19, Folder 23

Type:

Archival materials

Date:

1975-1977

Collection Restrictions:

Use of the original papers requires an appointment.

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:

Joseph Cornell papers, 1804-1986, bulk 1939-1972. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

See more items in:

Joseph Cornell papers

Joseph Cornell papers / Series 10: Joseph Cornell Estate Papers / 10.1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c8fbb12b-6069-41a2-bbbd-7ee7fe0f086f

EDAN-URL:

ead_component:sova-aaa-cornjose-ref1048

Collection Creator:

Kainen, Jacob  Search this

Kainen, Ruth Cole (1922-2009)  Search this

Container:

Box 1, Folder 16

Type:

Archival materials

Date:

1940

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

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:

Jacob Kainen papers, 1905-2008, bulk 1940-2001. Archives of American Art, Smithsonian Institution.

See more items in:

Jacob Kainen papers

Jacob Kainen papers / Series 1: Biographical Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d824e7f5-a8ce-497d-9d7f-644080f9e36d

EDAN-URL:

ead_component:sova-aaa-kainjaco-ref769

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 170, Folder 10

Type:

Archival materials

Date:

1991-1994

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

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:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 11: Consignment Records / 11.1: Consignments to Other Galleries

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9775ca10d-3bb4-460a-b7af-b15881c70fac

EDAN-URL:

ead_component:sova-aaa-andremmg-ref4950

Artist:

Evergood, Philip 1901-1973  Search this

Photographer:

Rosenblum, Walter 1919-2006  Search this

Type:

Photograph

Topic:

ACA Galleries  Search this

Figure group  Search this

State of Being--Other--Imprisonment  Search this

Occupation--Service--Policeman  Search this

Image number:

ROS R0005845

See more items in:

Photograph Study Collection

Data Source:

Photograph Study Collection, Smithsonian American Art Museum

EDAN-URL:

edanmdm:siris_jul_135269

Creator:

Evergood, Philip, 1901-1973  Search this

Names:

Kent, Rockwell, 1882-1971  Search this

Kleinholz, Frank, 1901-  Search this

Kroll, Leon, 1884-1974  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Miró, Joan, 1893-  Search this

Smith, Charles Edward, 1904-1970  Search this

Extent:

11.61 Linear feet

Type:

Collection descriptions

Archival materials

Watercolors

Sound recordings

Transcripts

Scrapbooks

Sketches

Oil paintings

Photographs

Interviews

Date:

1890-1971

Summary:

The papers of painter Philip Evergood measure 11.61 linear feet and date from 1890 to 1971. Found within the papers are biographical materials; personal and business correspondence; writings, including essays, lectures, speeches, and sound recordings of radio appearances; subject files; personal business records; printed material; scrapbooks; artwork, including oil paintings, sketches, and childhood drawings; and photographs of Evergood, his family and friends, and his work.

Scope and Contents:

The papers of painter Philip Evergood measure 11.61 linear feet and date from 1890 to 1971. Found within the papers are biographical materials; personal and business correspondence; writings, including essays, lectures, speeches, and sound recordings of radio appearances; subject files; personal business records; printed material; scrapbooks; artwork, including oil paintings, sketches, and childhood drawings; and photographs of Evergood, his family and friends, and his work.

Biographical materials include curriculum vitae, forms, memberships, and the contact information of friends and acquaintances. Correspondence is with business associates and artists, including Charles Edward Smith, Rockwell Kent, Frank Kleinholz, Leon Kroll, Joan Miro, and Yasuo Kuniyoshi. Writings consist primarily of Evergood's artist statements, essays, lectures and speeches, as well as notes, transcripts, and recordings of broadcast radio shows. Subject files focus on art institutions and organizations, funding opportunities, and political topics of personal interest.

Personal business records include artist lists, contracts with galleries, and banking and estate records. Printed materials include clippings, four clippings scrapbooks, exhibition catalogs, and periodicals with articles featuring Evergood. There are loose sketches and mixed media, including oils and watercolors, of Evergood's artwork. Photographs are of Evergood, his friends and family, and photographs and negatives of his artwork.

Arrangement:

The collection is arranged as 9 series.

Missing Title

Series 1: Biographical Materials, 1930-1971 (0.2 linear feet; Box 1, 24, OV 13)

Series 2: Correspondence, 1930-1970 (3.6 linear feet; Boxes 1-4, 24)

Series 3: Writings, 1905-1970 (1.8 linear feet; Boxes 4-5, 24)

Series 4: Subject Files, 1919-1971 (0.7 linear feet; Boxes 5-6)

Series 5: Personal Business Records, 1902-1970 (0.5 linear feet; Box 6)

Series 6: Printed Material, 1914-1970 (2.4 linear feet; Boxes 7-9, 11, 24)

Series 7: Scrapbooks, 1924-1954 (0.6 linear feet; Boxes 11-12)

Series 8: Artwork, 1905-1970 (1.5 linear feet; Box 9, OV 14-20, 24, OV 25, RD 23)

Series 9: Photographic Materials, 1890-1970 (1.2 linear feet; Boxes 9-10, 24, OV 21-22, 26-27)

Biographical / Historical:

Painter and printmaker Philip Evergood (1901-1973) lived and worked in New York City and Bridgewater, Connecticut and was known as an expressionist and social realist who incorporated elements of the fantastic into his works. A native New Yorker, Evergood's father, Miles Blashki, was a Polish-Australian artist, and his mother, Flora Jane Perry, was English. At his mother's insistence, Evergood attended boarding schools in England and graduated from Eton in 1919. He left Cambridge University to pursue art studies at London's Slade School of Fine Arts and returned to America in 1923 to study with George Luks at the Art Students League.

In 1927, Evergood held his first one man show at New York's Dudensing Gallery and continued to travel back and forth between France, Spain, and America throughout the 1920s. In 1931, he married dancer and actress Julia Cross and found work as a muralist and painter for the WPA Federal Arts Project in the early 1930s. From 1937-1938, he served as president of the New York Artists Union and, along with other social realist painters, joined Herman Baron's stable at the ACA (American Contemporary Art) Gallery, where he exhibited several one man shows during the late 1930s and 1940s.

During the 1940s and 1950s, Evergood was a popular lecturer and taught at art schools, including the Skowhegan School, and began producing large scale lithographs and etchings along with his paintings. While working as a picture framer for additional income, he met the art collector Joseph Hirshhorn who would purchase 10 artworks at their first meeting and become a life long patron. He continued to exhibit his work at the ACA Gallery and the annual contemporary shows of major museums, such as the Carnegie Institute and the Art Institute of Chicago. Evergood exhibited in over 35 exhibitions, including a retrospective at the Whitney Museum in 1960, and died in a house fire in Bridgewater in 1973.

Related Materials:

Also found in the Archives of American Art are Letters from Philip Evergood; Gael Hammer letters relating to Miles and Philip Evergood; an oral history interview with Philip Evergood by Forrest Selvig, December 3, 1968; and Philip Evergood interview with John I.H. Baur, June 1959.

Provenance:

Philip Evergood donated his papers to the Archives in 1971. Additional materials were donated in 1974 by Evergood's wife, Julia Cross Evergood. In 1977, two typescripts of essays were donated by Abram Lerner. A small addition was donated in 2018 by Kendall Taylor, who originally received the material from Julia Cross Evergood.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. 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:

Painters -- New York (State) -- New York  Search this

Artists -- Political activity  Search this

Art, Modern -- 20th century -- New York (State) -- New York  Search this

Genre/Form:

Watercolors

Sound recordings

Transcripts

Scrapbooks

Sketches

Oil paintings

Photographs

Interviews

Citation:

Philip Evergood papers, 1890-1971. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this colleciton was provided by the Terra Foundation for American Art

Identifier:

AAA.everphil

See more items in:

Philip Evergood papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90fd247d3-1a9d-4af8-a185-38e866a5b436

EDAN-URL:

ead_collection:sova-aaa-everphil

Creator:

Sternberg, Harry, 1904-2001  Search this

Names:

Art Students League (New York, N.Y.) -- Faculty  Search this

Idyllwild School and Museum for the Arts -- Faculty  Search this

Blume, Peter, 1906-1992  Search this

Evergood, Philip, 1901-1973  Search this

Kent, Rockwell, 1882-1971  Search this

Secunda, Arthur  Search this

Siqueiros, David Alfaro  Search this

Walker, Hudson D. (Hudson Dean), 1907-1976  Search this

Warner, Malcolm, 1953-  Search this

Wickey, Harry  Search this

Zigrosser, Carl, 1891-  Search this

Extent:

3.4 Linear feet

0.553 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Video recordings

Notes

Manuscripts

Interviews

Scrapbooks

Drafts (documents)

Sound recordings

Photographs

Sketchbooks

Drawings

Date:

1927-2000

Summary:

The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Scope and Content Note:

The papers of New York City and California painter, printmaker, and teacher Harry Sternberg date from 1927 to 2000 and measure 3.4 linear feet and 0.553 GB. The collection documents Sternberg's career as an artist and art instructor through scattered biographical material, correspondence with friends, artists, collectors, curators, art organizations, universities, and galleries, writings by Sternberg and others, exhibition catalogs and announcements, news clippings, and other printed and digital material. Also found are photographs of Sternberg and his artwork, two sketchbooks and three loose drawings by Sternberg, audio visual recordings, and one scrapbook.

Biographical material includes an interview of Sternberg conducted by art curator Malcolm Warner, two ledgers documenting business activities, scattered financial and legal documents, and files regarding a few of his projects, including the film "Many Worlds of Art". Sternberg's personal and professional correspondence is with friends, artists, including Harry Wickey, Rockwell Kent, Philip Evergood, and Peter Blume, collectors and curators such as Hudson Walker and Carl Zigrosser, and art organizations, universities, and galleries.

The small number of writings by Sternberg in this collection includes drafts of articles and lectures, a manuscript for a book on etching, and notes. Writings by others consists of draft writings about Sternberg, draft exhibition catalogs, and writings by the artists Arthur Secunda and David Alfaro Siqueiros. Over one-third of this collection is printed material, including exhibition catalogs and announcements, news clippings, books written by Sternberg, school publications, and material regarding art events.

Also found are photographs of Sternberg in his studio, with students, with his wife Mary, and at the Idyllwild School. Other photographs include group photographs of Art Students League faculty as well as photographs of exhibitions, murals, and artwork. The collection also contains original artwork including two sketchbooks and three loose drawings by Sternberg and one scrapbook of news clippings and exhibition materials. Audio and video materials include several interviews of Sternberg and a video copy of his film "Many Worlds of Art".

Arrangement:

The collection is arranged into 8 series:

Missing Title

Series 1: Biographical Material, 1927-2000 (Box 1, OV 5; 0.3 linear feet)

Series 2: Correspondence, 1928-2000 (Box 1; 0.3 linear feet)

Series 3: Writings, circa 1940s-2000 (Box 1, 4; 0.2 linear feet)

Series 4: Printed Material, 1933-2000 (Box 1-3; 1.2 linear feet)

Series 5: Photographs, circa 1930s-1998 (Box 3, 4; 0.3 linear feet)

Series 6: Artwork, circa 1928-1980s (Box 3, OV 5; 0.2 linear feet)

Series 7: Audio Visual Material, circa 1980s-2000 (Box 3; 0.5 linear feet, ER01; 0.553 GB)

Series 8: Scrapbook, 1929-1958 (Box 4; 0.2 linear feet)

Biographical Note:

Harry Sternberg (1904-2001) was a New York painter, muralist, printmaker, etcher, teacher, and political activist who relocated to California in 1957.

Harry Sternberg was born in 1904 in the Lower East Side of New York City and grew up in Brooklyn. As a child he attended his school art club where he met and became lifelong friends with artists Peter Blume and Philip Reisman. He took free Saturday art classes at the Brooklyn Museum of Art for two years and attended the Art Students League part time from 1922 to 1927 where he studied with George Bridgman. In 1926 he shared a studio with Philip Reisman where they received private instruction in etching from Harry Wickey. Sternberg began exhibiting his etchings and intermittently had drawings published in New Masses, a prominent American Marxist publication. In the late 1920s he became friends with Hudson Walker who also became a major collector of his work. In 1933 Sternberg was hired as instructor of etching, lithography, and composition at the Art Students League and continued teaching there for the next 33 years. Also around this time he became politically active in artist rights organizations, serving on the planning committee to create the American Artists' Congress and later serving as an active member of the Artists Equity Association. In 1935 he became the technical advisor of the Graphic Art Division of the Federal Art Project. From 1937 to 1939 he completed three federal mural commissions. His first mural Carrying the Mail was created for the Sellersville, Pennsylvania post office in 1937. His most famous mural Chicago: Epoch of a Great City was painted for the Lakeview post office in Chicago. It depicts the history of the city and its workers, particularly life for the workers in Chicago's stockyards and steel mills.

During the 1940s Sternberg remained very active in arts organizations, as one of the founders of the National Serigraph Society and a member of the Committee on Art and Education in Society. In 1942 he published the first of five books on printing. Sternberg had his first retrospective in 1953 at ACA Galleries, and in 1957 he taught summer painting courses at the Idyllwild School of Music and the Arts in California. He continued teaching in the summers there from 1960 to 1967 and 1981 to 1989. Suffering from lung disease, Sternberg moved with his wife, Mary, to Escondido, California in 1966 in hopes that the climate would improve his health. In 1972 he was elected to the American Academy and Institute of Arts and Letters. During the 1970s and 1980s Sternberg traveled extensively throughout the US and Mexico where he found new inspiration for his artwork. He continued teaching, exhibiting, and creating new work until his death in 2001.

Related Material:

Also found in the Archives of American Art are the May Konheim papers concerning Harry Sternberg, 1934-1981, and an oral history interview of Harry Sternberg, conducted March 19, 1999, October 8, 1999, and January 7, 2000, by Sally Yard for the Archives of American Art

Provenance:

The Harry Sternberg papers were donated by Sternberg in several installments from 1967 to 2001.

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:

Painters -- California  Search this

Topic:

Printmakers -- California  Search this

Printmakers -- New York (State) -- New York  Search this

Educators -- California  Search this

Painting, American  Search this

Educators -- New York (State) -- New York  Search this

Artists' studios -- Photographs  Search this

Painters -- New York (State) -- New York  Search this

Genre/Form:

Video recordings

Notes

Manuscripts

Interviews

Scrapbooks

Drafts (documents)

Sound recordings

Photographs

Sketchbooks

Drawings

Citation:

Harry Sternberg papers, 1927-2008. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.sterharr

See more items in:

Harry Sternberg papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw904413d6d-fce2-4bc8-9eef-9641dce75f12

EDAN-URL:

ead_collection:sova-aaa-sterharr

Creator:

ACA Galleries  Search this

Names:

American Contemporary Art Gallery  Search this

Abbott, Berenice, 1898-1991  Search this

Baron, Herman, 1892-1961  Search this

Burliuk, David, 1882-1967  Search this

Cahill, Holger, 1887-1960  Search this

Dondero, George A. (George Anthony), 1883-1968  Search this

Evergood, Philip, 1901-1973  Search this

Gropper, William, 1897-1977  Search this

Gwathmey, Robert, 1903-1988  Search this

Hirsch, Joseph, 1910-1981  Search this

McCausland, Elizabeth, 1899-1965  Search this

Mumford, Lewis, 1895-1990  Search this

Olds, Elizabeth, 1896-1991  Search this

Pickens, Alton  Search this

Refregier, Anton, 1905-  Search this

Soyer, Moses, 1899-1974  Search this

Soyer, Raphael, 1899-1987  Search this

Valente, Alfredo  Search this

Weber, Max, 1881-1961  Search this

Young, Art, 1866-1943  Search this

Photographer:

Newman, Arnold, 1918-2006  Search this

Extent:

1 Linear foot

Type:

Collection descriptions

Archival materials

Writings

Photographs

Date:

1917-1963

Summary:

The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.

Scope and Content Note:

The scattered records of the ACA (American Contemporary Art) Galleries date from 1917 through 1963 and include writings by founder Herman Baron, artists Philip Evergood and Anton Refregier, and art critic Elizabeth McCausland; printed materials; and photographs of Baron, ACA artists, art collectors, works of art, and exhibitions. Correspondence is with David Burliuk, Philip Evergood, William Gropper, Lewis Mumford, Moses Sawyer, Max Weber, and others. Also found is a small group of Herman Baron's personal papers.

The records are a rich resource for documenting the Social Realist artists and the militant socialist artists during the great depression and the post-World War II era of "McCarthyism".

Correspondence with ACA artists consists of letters from Philip Evergood, David Burliuk, William Gropper, Robert Gwathmey, Joseph Hirsch, Lewis Mumford, Elizabeth Olds, Alton Pickens, Moses Soyer, Max Weber, and Art Young. Some of the letters concern the socialist and communist views of some of the artists, including responses to Congressional Representive George A. Dondero's public statements and attacks on modern art as a conspiracy to spread communism in the United States. There is a letter written by Holger Cahill to the editor of Time magazine concerning WPA artists. Also found is a letter from Raphael Soyer written to the ACA Galleries concerning the American Artists' Congress.

Writings include Herman Baron's written history of the ACA Galleries and scattered pages of Baron's book on Joe Jones and William Gropper. There are essays and writings by art critic Elizabeth McCausland, and artists Anton Refregier and Philip Evergood. Printed materials consist of ACA publications, newspaper clippings, published articles, printed illustrations by Philip Evergood, and printed materials about Congressman Dondero.

Photographs are of David Burliuk, Bruce Calder, Nicolai Cikovsky, Hy Cohen, Robert Cronbach, Alexander Dobkin, Philip Evergood, Mike Gold, Chaim Gross, William Gropper, Joe Jones, Mervin Jules, Irene Rice Pereia, Geri Pine, Philip Reisman, Vic Shifreen, Harry Sternberg, Moses Soyer, Raphael Soyer, James Baare Turnbull, Nicky Walker, Abraham Walkowitz, Nat Werner, and Art Young. Photographers include Berenice Abbott, Arnold Newman, and Alfredo Valente. Additional photographs are of unidentified installations or exhibitions.

Herman Baron's personal papers include letters written to his wife and friends during World War I, writings by Baron for various magazines including Glazier's Journal. Personal photographs are of Herman Baron in his army uniform. There is also an obituary for Herman Baron written by art critic Elizabeth McCausland.

Arrangement:

The collection is arranged as 5 series:

Missing Title

Series 1: Correspondence, circa 1930s-1960s (Box 1; 0.25 linear feet)

Series 2: Writings and Notes, 1938-circa 1960s (Box 1; 8 folders)

Series 3: Printed Material, 1939-1960 (Box 2; 4 folders)

Series 4: Photographs, circa 1930s-circa 1960s (Box 2; 0.25 linear feet)

Series 5: Herman Baron Personal Papers, circa 1910s, 1940s-1960s (Box 2-3; 0.3 linear feet)

Historical Note:

Herman Baron, Stuart Davis, Yasuo Kuniyoshi, and Adolf Dehn founded the American Contemporary Art (ACA) Galleries on August 16, 1932. Located at 1269 Madison Avenue in New York City, the galleries' first show featured watercolorist Hy Cohen. Baron encouraged freedom of expression and did not censor the artworks displayed in his gallery. As a result, the gallery became an outlet for generally unknown and socially conscious artists, including the Social Realists.

Born in Lithuania in 1892, Herman Baron immigrated to the United States as a child. He served in World War I and later attended New York University. Baron founded and edited Glazier's Journal (later Glass Digest) in 1924 as the first journal for the professional glazing trade. Additionally, he wrote short stories and plays for American Hebrew and Young Israel.

In response to economic issues facing the art market during the depresssion of 1930s, ACA Galleries organized relief efforts to financially support their artists. During this period, the gallery became closely allied with militant artists' organizations and some of the more politically radical artists. In 1935, the ACA Galleries and Herman Baron hosted the first meeting of the American Artists' Congress in the gallery space.

The ACA Galleries featured exhibitions of works by artists David Burliuk, Stuart Davis, Philip Evergood, William Gropper, Robert Gwathmey, Joe Jones, Rockwell Kent, Lee Krasner, Yasuo Kuniyoshi, Lewis Mumford, Louise Nevelson, Alton Pickens, Moses Soyer, Raphael Soyer, Max Weber, Art Young, and others. Baron also organized exhibitions of many artists employed by or associated with the Works Progress Administration of the federal arts program. Due to the progressive nature of the works of art found in the ACA Galleries, Herman Baron came under considerable criticism during the McCarthy Era. Baron was condemned by Representative George A. Dondero for supporting "un-American" sympathies and was forced often to defend his gallery and artists.

For years the gallery focused on artists rights and supporting the work of artists, rather than a profit. In the 1950s, a shift occurred when Baron's nephew Sidney Bergen initiated professional business practices and transformed the gallery into a profitable venture. Now located at 529 West 20th Street in New York City, ACA Galleries continues to promote and support various social causes.

Related Material:

The Archives of American Art holds the Herman Baron papers, dating from 1937-1967 which were donated by Syracuse University, George Arents Research Library in 1984. Some exhibition catalogs may be found here.

Provenance:

Ella Baron, widow of the ACA Galleries' founder Herman Baron, donated the records to the Archives of American Art in 1965 and 1966.

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, American  Search this

World War, 1914-1918  Search this

Politics in art  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Writings

Photographs

Citation:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.acagall

See more items in:

The ACA Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97838f702-80fc-493a-940a-86b9373c8141

EDAN-URL:

ead_collection:sova-aaa-acagall

Collection Creator:

ACA Galleries  Search this

Extent:

0.25 Linear feet (Box 1)

Type:

Archival materials

Date:

circa 1930s-1960s

Scope and Contents note:

This series contains Herman Baron's ACA Galleries' correspondence with artists, collectors, and museums. Some of the letters concern Works Progress Administration projects and the American Artists' Congress.

Arrangement note:

Correspondence is arranged by artist and subsequently by date with undated materials filed at the end. General correspondence is arranged chronologically.

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.acagall, Series 1

See more items in:

The ACA Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f1741678-fe9d-4717-ba04-de77d108d908

EDAN-URL:

ead_component:sova-aaa-acagall-ref14

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

circa 1930s-1960

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw940e8124b-b760-433b-bbef-ab5981b2e5dc

EDAN-URL:

ead_component:sova-aaa-acagall-ref15

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 2

Type:

Archival materials

Date:

1943-1963

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e60e8c6f-3862-477e-bb87-649d2770c0b2

EDAN-URL:

ead_component:sova-aaa-acagall-ref16

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 3

Type:

Archival materials

Date:

circa 1940s-1960s

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9091345f5-8cea-4863-b9b3-419ac59032a5

EDAN-URL:

ead_component:sova-aaa-acagall-ref17

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 5

Type:

Archival materials

Date:

1939-1943, 1952-1960

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9bd99bd67-9161-467d-b6dc-54d4bc0bf263

EDAN-URL:

ead_component:sova-aaa-acagall-ref18

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 6

Type:

Archival materials

Date:

1946-1960

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9176ad1aa-3a87-4094-bb66-08af5320347b

EDAN-URL:

ead_component:sova-aaa-acagall-ref19

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 7

Type:

Archival materials

Date:

1958-circa 1960

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d5c0db08-0cf7-4fd0-aa9b-412c3f9c9b61

EDAN-URL:

ead_component:sova-aaa-acagall-ref20

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1937-1940

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90d3e6622-3e69-44ab-8666-0b81f59dbc51

EDAN-URL:

ead_component:sova-aaa-acagall-ref21

Collection Creator:

ACA Galleries  Search this

Container:

Box 1, Folder 9

Type:

Archival materials

Date:

1955-1961

Collection Restrictions:

Use of original papers requires an appointment.

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:

ACA Galleries records, 1917-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

See more items in:

The ACA Galleries records

The ACA Galleries records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99f1ff315-b516-4b01-b658-88fcbad11bc8

EDAN-URL:

ead_component:sova-aaa-acagall-ref22