The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.
Scope Content:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.
Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.
Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.
Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Organization of the Papers:
This collection is organized into twelve series.
Series 1: Genealogical and Biographical Data
Series 2: Correspondence
Series 3: Diaries
Series 4: Freer Colleague Materials
Series 5: Art Inventories
Series 6: Financial Materials
Series 7: Exhibition Loan Files
Series 8: Biblical Manuscripts and Gold Treasure Files
Series 9: American School of Archaeology in China
Series 10: Printed Material
Series 11: Outsize Material
Series 12: Photographs
Biographical Note:
1854 February 25 -- Born in Kingston, New York
1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)
1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad
1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker
1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works
1883 -- Begins collecting European prints
1884 -- Peninsular Car Company constructs plant on Ferry Avenue
1887 -- Meets Howard Mansfield (1849-1938)
1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)
1887 -- Purchases a small Japanese fan attributed to Ogata Karin(1658-1715)
1887 -- Buys land on Ferry Avenue
1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York
1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan
1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)
1892 -- Moves to Ferry Avenue house
1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms
1893 -- Lends American paintings to World's Columbian Exposition in Chicago
1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist
1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan
1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston
1899 -- Takes part in consolidation of railroad-car building companies then retires from active business
1900 -- Attends Exposition International Universelle in Paris
1900 -- Buys villa in Capri with Thomas S. Jerome
1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit
1902 -- Meets Dikran Kelekian (1868-1951)
1902 -- Spends summer in Britain building Whistler collection
1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room
1904 -- Purchases Whistler's Peacock Room
1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution
1905 -- Smithsonian committee visits Freer in Detroit
1906 -- United States government formally accepts Freer's gift on January 24
1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5
1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan
1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware
1909 -- Tours Europe to study art museums
1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China
1910 -- On last trip to Asia, visits Longmen Buddhist caves in China
1911 -- Suffers stroke
1912 -- Lends selection of objects for exhibition at Smithsonian Institution
1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer
1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington
1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit
1915 -- Settles in New York City
1915 -- Site of future Freer Gallery of Art is determined
1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September
1918 -- After falling ill in Detroit, Freer travels to New York for treatment
1918 -- Work on the museum building is delayed by the war
1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art
1919 -- Dies in New York City on 25 September and is buried in Kingston, New York
1919 -- Construction of Freer Gallery completed
1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery
1923 -- Freer Gallery opens to the public on May 9
1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto
Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.
Index:
Index to cross-referenced correspondents in the series Charles Lang Freer correspondence
Beal, Junius E. -- See: -- Warring, Joseph Stephens
Black, George M. -- See: -- Saint-Gaudens, Augustus
Board of Education (Kingston, New York) See: Michael, M. J.
Bonner, Campbell See: University of Michigan
Boughton, George H. See: Yardley, F. C.
British Museum See: Binyon, Laurence; Hobson, R. L.
Brown, Harold H. See: Art Association of Indianapolis
Buchner, Evelyn B. See: Knoedler, M., and Company
Buckholder, C. H. See: Art Institute of Chicago
Butler, S. B. See: Unidentified correspondents
Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.
Carpenter, Newton H. See: Art Institute of Chicago
Caulkins, Horace James See: Pewabic Pottery
Chao, Shih-chin See: Gunn, Chu Su
Chicago & North Western Railway Co. See: Hughett, Marvin
Clark, Charles Upson See: Clark, Arthur B.
Cleveland Museum of Art See: Whiting, Frederic Allen
Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich
Commission of Fine Arts See: Moore, Charles
Corcoran Gallery of Art See: Minnigerode, C. Powell
Crocker, Anna B. See: Portland Art Association
Dannenberg, D. E. See: Karlbeck, Orvar
De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection
De Ricci, Seymour See: Ricci, Seymour de
Defnet, William A., Mrs., See: Franke, Ida M.
DeMotte See: Vigouroux, J.
Detroit Institute of Arts See: Detroit Museum of Art
Detroit Publishing Company See: Livingstone, W. A.
Detroit School of Design See: George Hamilton; Stevens, Henry
DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.
Dyrenforth, P. C. See: Philip, Rosalind Birnie
Eddy, Arthur J. See: Philip, Rosalind Birnie
Eggers, George Williams See: Art Institute of Chicago
Farr, Daniel H. See: Robinson and Farr
Farrand School (Detroit) See: Yendall, Edith
Field Museum of Natural History (Chicago) See: Laufer, Berthold
Flagg, Frederick J. See: Allen, Horace N.
Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.
French, M. R. See: Art Institute of Chicago
Fu, Lan-ya See: Pang, Lai-ch'en
Fujii, Yoshio See: Yoshio, Fujii
Gerrity, Thomas See: Knoedler, M., and Company
Goupil Gallery See: Marchant, William
Gray, William J. See: Barr, Eva
Great Lakes Engineering Works See: Hoyt, H. W.
Grolier Club See: Philip, Rosalind Birnie
Heinemann, W. See: Philip, Rosalind Birnie
Holden, Edward S. See: West Point, U. S. Military Academy
Hudson, J. L. See: Weber, William C.
Hutchins, Harry B. See: University of Michigan
Hutchins, Charles L. See: Art Institute of Chicago
Kelekian, H. G. See: Kelekian, Dikran G.
Kent, H. W. See: Metropolitan Museum of Art
Lee, Kee Son See: Li, Chi-ch'un
Levy, John See: Schneider, A. K.
Library of Congress See: Rice, Richard A.; Wright, Helen
Louvre (Paris, France) See: Midgeon, Gaston
Matsuki, Z. See: Matsuki, Kihachiro
McKim, Mead and White See: White, Stanford
Mills, A. L., Colonel See: Saint-Gaudens, Augustus
Miner, Luella See: Lien, Hui Ch'ing Collection
Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.
Monif, R. Khan See: Rathbun, Richard
Museum of Fine Arts, Boston See: Lodge, John Ellerton
Naser, Katen & Nahass See: Katen, K.
Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie
Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.
Peabody Museum See: Morse, Edward Sylvester
Pennsylvania Academy of the Fine Arts See: Trask, John E. D.
Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus
Saint-Gaudens, Homer See: Saint-Gaudens, Augustus
Samurai Shokai See: Nomura, Yozo
San Francisco Art Association See: Laurvik, J. Nilsen
Scribner's, Charles, Sons See: Van Dyke, John C.
Shaw, Wilfred B. See: University of Michigan
Shirae, S. Z. See: Yamanaka and Company
Smith College See: Clark, Arthur B.
Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.
Society of Arts and Crafts (Detroit) See: Plumb, Helen
Societe des Beaux-Arts See: Reid, Alexander
Stevens, George W. See: Toledo Museum of Art
Stratton, Mary Chase Perry See: Pewabic Pottery
Tanaka, Kichijiro See: Yamanaka and Company
Tuttle, William F. See: Art Institute of Chicago
Union Trust Company (Detroit) See: Philip, Rosalind Birnie
United States Military Academy See: West Point, U. S. Military Academy
University of Chicago See: Zug, George Breed
University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon
Ushikubo, D. J. R. See: Yamanaka and Company
Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College
Warren, Edward K. See: Philip, Rosalind Birnie
Warring, Stephen See: Warring, Joseph Stephens
Watkin, Williams R. T. See: Philip, Rosalind Birnie
Watson, Margaret, Miss See: Parker, Margaret Watson
Whistler, Anna See: Stanton, Anna Whistler
Whiting, Almon C. See: Toledo Museum of Art
Williams College See: Rice, Richard A
Wright, F. G. See: Orbach and Company
Yatsuhashi, H. See: Yamanaka and Company
Index to cross-referenced correspondence in the series Whistler correspondence
Bell, William See: Unidentified correspondents
Brown, Ernest See: Painter Etchers' Society, Committee
Cowen, John T. See subseries: Charles Lang Freer Correspondence
Ford, Sheridan See: Reid, Alexander
Haden, Francis Seymour See: Painter Etchers' Society, Committee
Haden, Francis Seymour, Lady See: Haden, Deborah Whistler
Leighton, Frederick, Baron See: Campbell, Lady Colin
Moore, Albert See: Reid, Alexander
Morley, Charles See: Pall Mall Gazette
Morris, Harrison S. See: Reid, Alexander
Pennell, Joseph See: Miscellaneous typescripts
Pennsylvania Academy of the Fine Arts See: Reid, Alexander
Prange, F. G. See: Reid, Alexander
Societe des Beaux-Arts See: Reid, Alexander
Society of Portrait Painters See: Reid, Alexander
Stevens Fine Art See: Reid, Alexander
Studd, Arthur See: Miscellaneous typescripts
[Vanderbilt?], George, Mrs. See: George, Mrs.
Whistler, William McNeill, Mrs. See: Whistler, Nellie
Whistler Memorial Committee See: Miscellaneous typescripts
Related Material:
The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.
Provenance:
Gift of the estate of Charles Lang Freer.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American -- Collectors and collecting Search this
Art, Asian -- Collectors and collecting Search this
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Scope and Contents:
The papers of New York art dealers and gallery owners Otto and Ilse Gerson measure 3 linear feet and date from 1933 to 1980. This collection includes biographical materials, correspondence, exhibition files, artists' files, collectors' files, business records, inventory and stock records, printed materials, and photographs.
Biographical material consists of Otto and Ilse Gerson's naturalization certificates and Ilse Gerson's will.
Correspondence includes a mixture of personal and professional letters. There are a few scattered letters between Otto and Ilse Gerson as well as correspondence with clients, museums, dealers, and artists. Notable correspondents include art dealer Curt Valentin and the artist Gerhard Marcks. There is also correspondence with the Dina Vierny Gallery in Paris, France.
There is a small number of files on the Joseph Mallord William Turner exhibition at Gerson Gallery in 1960 which include correspondence, loan forms, and printed material.
Artists' files contain correspondence, estimates, inventories, sales records, and printed material for art work by five different artists such as Jacques Lipchitz, David Smith, and Fritz Wotruba.
Collectors' files include correspondence, invoices, photographs, and other material related to purchases by various art collectors.
Business records consist of purchase and sales records, audit reports, balance sheets, certificates of authenticity, a sales ledger, and legal documents regarding the business conducted by Fine Arts Associates and Otto Gerson Gallery, and legal agreements and contracts related to the Marlborough-Gerson Gallery merger.
Inventory and stock records include assorted art inventories, a stock book, and stock cards for artists.
Printed material includes a few Gerson Gallery exhibition catalogs and clippings of exhibition reviews.
Photographs consists of a few snapshots of Otto and Ilse Gerson and images of gallery installations.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Material, 1933-1973 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1937-1980 (0.5 linear feet; Box 1)
Series 3: Turner Exhibition Files, 1960-1961 (0.1 linear feet; Box 1)
Series 4: Artists' Files, 1950-1966 (0.3 linear feet; Boxes 1-2)
Series 5: Collectors' Files, 1956-1966 (0.3 linear feet; Box 2)
Series 6: Business Records, circa 1945-1964 (0.3 linear feet; Box 2)
Series 7: Inventory and Stock Records, 1946-1965 (1.3 linear feet; Boxes 2-3)
Series 8: Printed Material, 1951-1962 (0.1 linear feet; Box 3)
Series 9: Photographs, circa 1945-circa 1960 (2 folders; Box 3)
Biographical / Historical:
Otto Gerson was born in Germany and immigrated to the United States, where he met and married Ilse Goehler in 1939. They both became U.S. citizens and together they rose to prominence as art dealers in New York City, circa 1940-1962, bringing works by noted post-war European (and some American) artists to the American market.
The Gersons also owned and operated galleries in New York, including Fine Arts Associates and Gerson Gallery. The Gerson Gallery was located at 41 East 57th Street in New York City and later merged with another gallery to form the Marlborough-Gerson Gallery around 1963, shortly after Otto Gerson's death.
Provenance:
The Otto and Ilse Gerson papers were donated to the Archives of American Art in 1984 by Indian Head Bank North on behalf of Otto and Ilse Gerson.
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.
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.
Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.
Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.
Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.
Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.
Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:
Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)
Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)
Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)
Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)
Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)
Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)
Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)
Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.
In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.
Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.
During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.
Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.
Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
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 teachers -- California -- Berkeley Search this
The papers of Parisian jeweler and art collector Henri Vever (1854-1942) include six diaries; a ledger of his art acquisitions; original oil paintings by Vever; and photographs. The materials document Vever's circle of friends, patrons, and other art collectors in turn-of-the-century Paris.
Scope and Content Note:
The Henri Vever Papers measure 2.5 linear feet (35 items) and span the years 1875 --1932. The collection contains six diaries, an account ledger, 20 photographs, one guest list, one ceremonial pommel, and six original oil paintings by Henri Vever.
Arrangement note:
This collection is organized into five series:
Series 1: Diaries, 1878-1901
Series 2: Account Ledger, 1894, 1907-1917
Series 3: Photographs, 1867-1932, n.d
— Subseries 3.1: Henri Vever and Family
— Subseries 3.2: Vever Family Estate in Noyers, France
Series 4: Art Works, 1914-1915
— Subseries 4.1: Pommel
— Subseries 4.2: Le Havre, France
— Subseries 4.3: Château de Noyers
Biographical Information:
Henri Vever Chronology
1854 -- Vever born in Metz, France.
1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.
1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.
1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.
1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.
1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.
1885 -- Vever buys first painting.
1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.
1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.
1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.
1894 -- Vever donates forty Japanese prints to the Louvre.
1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.
1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.
1913 -- With Georges Marteau, Vever authors, Miniatures Persanesa catalogue of the 1912 Exposition des Arts Musulmans.
1915 -- Paul Vever dies.
1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.
1921 -- Vever retires.
1939 -- Marguerite Vever dies.
1942 -- Henri Vever dies.
1982 -- Maison Vever closes.
Jeweler, art collector, and author Henri Vever was born in Metz, France in 1854. Together with his older brother Paul, Henri Vever managed the family jewelry firm, Maison Vever, from 1881 until Paul's death in 1915 and Henri's retirement in 1921. As an art collector, Vever amassed a large collection of European, Asian, and Islamic art. Through his work as a jeweler, art collector, and author, Henri Vever played an important role in the twentieth-century art world.
To equip him with the proper skills to run Maison Vever, Henri Vever apprenticed in the studios of Louguet and of Hallet and attended the Ecole des Arts Décoratifs in 1871. Two years later, the Ecole des Beaux-Arts accepted Henri and he entered the studios of artists M.A. Millet and J.L. Gérôme. Jean-Jacque Ernest Vever retired from Maison Vever in 1881 and his two sons, Henri and Paul, assumed control.
The youngest son of Jean-Jacques Ernest Vever, Henri Vever was born into a family of jewelers. His grandfather, Pierre-Paul Vever, launched a successful jewelry shop in Metz in 1854. Upon retirement, Pierre-Paul Vever's son, Henri's father, assumed control of the shop. With the German annexation of Metz during the Franco-Prussian War in 1870, Jean-Jacque Ernest Vever took his family to Luxembourg and one year later acquired a jewelry shop at 19 Rue de la Paix in Paris and named the new shop Maison Vever.
That same year Henri married Jeanne Monthiers and she gave birth to the couple's only child, Margeurite, in 1882. Henri, Jeanne, and Margeurite Vever lived at 19 Rue de la Paix in the same building that housed Maison Vever. In 1892 Jeanne Vever inherited her family's estate in Noyers, France.
The Vever brothers ran a very successful jewelry studio. Not only did Maison Vever's clientele base expand during their tenure, but its designs were often prizewinners at various expositions around the world. The 1900 Exposition Universalle in Paris offers an example. The Maison Vever submission won a Grand Prix at this exposition in which the art movement Art Nouveau played a major role.
Henri Vever was a proponent of the Art Nouveau movement, a turn-of-the-century art movement whose adherents sought to forge a new, modern style, one that would, "reunite art and craft." According to curator Glenn Lowry, Vever's interest in Art Nouveau affected the Maison Vever's designs. "…during the 1880s many of the Maison Vever's designs were highly traditional, by the beginning of the 1890s the firm was at the vanguard of the art nouveau movement.
In addition to his work at Maison Vever, Vever amassed an enormous and influential collection of European, Asian, and Islamic art. Initially a collector of European art, by the late 1880s Vever's collecting interests expanded to include Asian and then Islamic art works. According to Lowry, Vever's interest in Islamic art was sparked in 1891 when he traveled to Moscow to participate in a jewelry exhibition. In approximately 1892 Vever joined Les Amis de l'Art Japonais, a group whose members met for dinners at which they discussed Japanese art. Claude Monet was also a member of this group.
From 1906 to 1908, Vever published a three-volume series, Bijouterie Française au XIXe Siècle . This set became the, "standard text on nineteenth-century jewelry". Through his art collections, writings, and profession, Henri Vever played an important role in the twentieth-century art world. He acquired a large art collection and often loaned pieces out for exhibition to various galleries and museums throughout the world. Henri Vever retired from Maison Vever in 1921 and the sons of Paul Vever, André and Pierre, took over the reigns. Henri Vever died in 1942 at the country estate in Noyers. Maison Vever continued operation until 1982 when it permanently shut its doors.
General note:
For a more detailed look at the life of Henri Vever, please see the following publication from which much of this biographical information originates: Lowry, G.D. with Nemazee, S. (1988). -- A jeweler's eye: Islamic arts of the book from the Vever Collection -- . Washington D.C.: Arthur M. Sackler Gallery, Smithsonian Insitution with Seattle: University of Washington Press.
Biographical Overview
1854 -- Vever born in Metz, France.
1870 -- Following the German annexation of Metz during the Franco-Prussian War, the Vever family leaves Metz for Luxembourg.
1871 -- Jean-Jacques Ernest Vever (father of Henri) buys a jewelry studio in Paris. Vever begins apprenticeship at Loguet and at Hallet and attends night classes at the Ecole des Art Décoratif in Paris.
1873 -- Vever enters the Ecole des Beaux-Arts and the studios of M.A. Millet and J.L. Gérôme.
1881 -- Jean-Jacques Ernest Vever retires and Vever and his brother Paul assume control of the jewelry shop (Maison Vever). Henri Vever marries Jeanne Monthiers.
1882 -- Jeanne Vever gives birth to Marguerite Vever, the couple's only child.
1885 -- Vever buys first painting.
1891 -- Vever travels to Russia where the Maison Vever takes part in a jewelry exhibition in Moscow.
1892 -- Vever becomes a regular participant of the dîners japonisants organized by art dealer Siegfried Bing.
1893 -- Vever appointed commissioner for jewelry to the World's Columbian Exposition, in Chicago. Maison Vever exhibits jewelry at the Exposition.
1894 -- Vever donates forty Japanese prints to the Louvre.
1900 -- Vever joins the Société Franco-Japonasie and is elected the mayor of Noyers, France.
1906-1908 -- Vever publishes, Bijouterie Française au XIXe Siècle.
1913 -- With Georges Marteau, Vever authors, Miniatures Persanes a catalogue of the 1912 Exposition des Arts Musulmans.
1915 -- Paul Vever dies.
1919 -- Maison Vever commissioned to make sword of honor offered to Marshall Ferdinand Foch by the city of Paris to celebrate the end of World War I.
1921 -- Vever retires.
1939 -- Marguerite Vever dies.
1942 -- Henri Vever dies.
1982 -- Maison Vever closes.
Related Archival Materials note:
The Arthur M. Sackler Gallery holds the, Vever Collection of Islamic Manuscripts. Additionally, the Archives holds, the Vever Family Photograph Album which contains photographs depicting the Vever family from 1881-1930 and the family estate in Noyers, France.
Provenance:
The Henri Vever Papers were donated to the Archives by the grandson of Henri Vever, François Mautin, in 1988. Additionally, Mr. Mautin donated six original oil paintings by Henri Vever to the Arthur M. Sackler Gallery in 1988. These paintings were transferred to the Archives in 1993.
Art -- Collectors and collecting -- France -- Paris Search this
Jewelry -- History -- Nineteenth century -- France Search this
Genre/Form:
Photographs
Diaries
Citation:
Henri Vever Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C.
Gift of François Mautin, 1988
Henri Vever Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of François Mautin, 1988
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Scope and Content Note:
The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.
Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.
Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.
Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.
Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.
Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.
Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.
Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.
A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.
Arrangement:
The collection is arranged as 8 series.
Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)
Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)
Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)
Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)
Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)
Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)
Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)
Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)
Biographical Note:
Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.
Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.
William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.
Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.
Related Materials:
The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.
Separated Material:
Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.
Provenance:
The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.
Restrictions:
Use of original papers requires an appointment.
Rights:
The 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:
Illustrators -- Pennsylvania -- Philadelphia Search this
Authors -- Pennsylvania -- Philadelphia 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:
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
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
Scope and Contents:
The papers of New York art collector Chester Dale measure 8.4 linear feet and date from circa 1883-2003. Dale amassed one of the world's most complete collections of nineteenth and twentieth century French art, was a collector of eighteenth century American portraitists, and a patron and collector of twentieth American artists including George Bellows and Mary Cassatt. The bulk of the collection dates from 1920 to 1970 and documents Dale's activities through biographical material, correspondence, memoirs and other writings, purchase, sales and estate records, printed material, scrapbooks, and photographs.
Biographical material comprises brief genealogical and biographical notes on Dale's father's side of the family; four pieces of miscellaneous artwork; several certificates, membership cards, and programs; circa six unidentified dictaphone recordings; and a home movie of an unidentified social event.
Correspondence provides scattered documentation of Dale's activities as a collector and benefactor, including correspondence relating to gifts to various museums such as the Dallas Museum of Fine Arts and the Metropolitan Museum of Art, as well as posthumous gifts to the Allentown Art Museum and Amherst College. Also documented is Dale's election as president of the National Gallery of Art in 1955. There are several letters to and from Salvador and Gala Dali, copies of two letters from Diego Rivera, and letters from other friends and business associates, including historian Georges Salles. Over one third of the correspondence consists of condolence telegrams and letters sent to Mary Dale following Dale's death. Other correspondence documents Mary Dale's work as exhibition chairman for the Parrish Museum of Art, and includes letters from Andrew, Jamie, and Nicholas Wyeth.
Writings include typed drafts of Dale's memoirs which recall the beginning of his career in banking, and include stories of his early experiences in buying art. Dale credits the highly discerning and influential eye of his first wife, Maud Dale, for guiding him in his early selections, and his memoirs recall his unconventionally direct way of doing business with the Paris art dealers. Two travel diaries record a 1904 trip to Europe, and five trips to Europe and the Caribbean between 1949 and 1953. Writings by others include several essays on Dale by various authors, several essays on art by Maud Dale, and a typed draft of a manuscript on Dale's life by Neil MacNeil.
Extensive inventories, estate appraisals, and will disbursement records document the contents of the Chester Dale collection in Series 4. Also found here are receipts for specific purchases of works by Cezanne, Cassatt, Dali, Dufy, Picasso, and others.
Printed material includes catalogs for auction sales annotated with sales prices and other purchase information; catalogs of Dale's collection; and exhibition catalogs and announcements for the Parrish Museum of Art during Mary Dale's tenure as exhibition chairman. Some of the catalogs include essays by Maud Dale. News clippings and magazine articles document press coverage of Dale's activities at home and abroad.
Scrapbooks contain additional printed material, primarily news clippings, documenting press coverage of Chester Dale's life from the 1920s until his death. One of the scrapbooks includes multiple photographs of Dale and others, including a photo of Frida Kahlo and Jose Orozco. An additional scrapbook of photographs and clippings documents Mary Dale's life before and after her marriage to Dale.
Photographs are of Dale, Mary Dale, Maud Dale, family, friends, and colleagues. There are photographs of Dale and Mary Dale with artists including George Braques, Salvador and Gala Dali, Diego Rivera and Frida Kahlo, and Jamie and Nicholas Wyeth; and friends and associates Renee and Claire Batigne, Veronica "Rocky" Cooper and Maria Cooper, Robert Sturgis Ingersoll, Edith Hamilton with Robert Frost, Neil MacNeil, Herbert Mayes, and Paul and Timothy Mellon. There are individual photos and three photograph albums of Dale's various residences and his collection, including photographs taken shortly before his death at his Plaza Hotel apartment showing some of his favorite pictures. Photographers include Rudolph Burkhardt, Irving Cantor, Ivan Dmitri, and Dmitri Kessel. There are also many photographs of exhibition openings and museum events, especially events at the National Gallery of Art, including the presentation of Dale's gift of Dali's The Sacrament of the Last Supper to the museum in 1956, and the occasion of Queen Elizabeth II of England's visit to the museum in 1957. Photographs also include photographs of artwork in Dale's collection.
Arrangement:
The collection is arranged as seven series.
Series 1: Biographical Material, circa 1897-circa 1960, 2003 (Boxes 1, 7-8; FC 20; 0.45 linear feet)
Series 2: Correspondence, 1911-1984 (Box 1; 0.9 linear feet)
Series 3: Writings, 1904-1963 (Boxes 2, 8; 0.55 linear feet)
Series 4: Chester Dale Collection, circa 1930-1968 (Boxes 2-3; 1 linear foot)
Series 5: Printed Material, 1925-circa 1972 (Boxes 3-4, 8, OV 9; 1.2 linear feet)
Series 6: Scrapbooks, circa 1920s-1963 (Box 4, BVs 10-14; 1.2 linear feet)
Series 7: Photographs, circa 1883-1972 (Boxes 4-6, 19, BVs 15-17, OV 18; 3.3 linear feet)
Biographical / Historical:
New York art patron and collector of French and American art Chester Dale (1883-1962), made his fortune as a banker who pioneered the sale of public utility securities. He began purchasing French paintings in the mid-1920s and retired from the investment security business in 1935 in order to focus full time on the acquisition of art.
Dale was encouraged to begin collecting art by his first wife, Maud Dale, who was an artist, a writer, and a former chairman of the Exhibition Committee of the Museum of French Art. With the benefit of his wife's knowledge, passion, and perception, Dale began to lay the foundation of his collection in 1926, and amassed circa seven hundred pictures within ten years. His collection is considered to be one of the most complete collections of nineteenth and twentieth century French art in the world, and includes some of the finest examples of works by Braque, Corot, Delacroix, Degas, Derain, Dufy, Leger, Matisse, and Renoir, as well as by artists representative of the French tradition in art including Modigliani, Picasso, Rivera, and Van Gogh.
Although primarily interested in French art, Dale also collected and encouraged American artists. He was a patron of George Bellows and Salvador Dali, and had his portrait painted by both artists. Dale presented the Metropolitan Museum of Art and the National Gallery of Art with their first Dali paintings, the latter being The Sacrament of the Last Supper. Dale also purchased works by Mary Cassatt, representative works by "the Eight," and examples of eighteenth century American portraitists John Smibert, Gilbert Stuart and Thomas Sully. In the early 1940s he visited Diego Rivera and Frida Kahlo in Mexico, and Rivera subsequently completed a portrait of Dale in 1945.
Dale served as a trustee to the Metropolitan Museum of Art, the Chicago Art Institute, and the Philadelphia Museum of Art. He made the first of a series of gifts to the National Gallery of Art when it opened in 1941. In 1955 he was elected president of the museum, by which time his collection occupied ten of its galleries. Dale bequeathed the bulk of his remaining collection to the National Gallery in his will. This final gift included eighty of his favorite pictures, which had been located in his Manhattan apartment at the Plaza Hotel up until his death.
A year after the death of Maud Dale in 1953, Dale married Mary Towar Bullard, whom he had employed as his secretary for twenty-five years. Mary Dale oversaw the disbursement of her husband's estate, following Dale's death from a heart attack in 1962.
Related Materials:
Holdings at the Archives of American Art also include the Chester Dale papers concerning George Bellows, 1919-1956, comprising correspondence, a photograph, and invoices relating to Chester Dale's relationship with George Bellows and Dale's interest in artwork by Bellows; and the Chester Dale eulogy, consisting of one 35 minute, 9 second sound tape reel of a eulogy delivered by an unidentified speaker.
Provenance:
The collection was donated in 1972 by Mary Dale, Chester Dale's second wife, and in 1985 by Mary Dale's estate.
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 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.
Chester Dale papers, circa 1883-2003, bulk 1920-1970. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of the Chester Dale papers is provided by The Walton Family Foundation. Funding for the reformatting of the 16mm film reel was provided by the Smithsonian Institution Women's Committee.
The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
Scope and Content Note:
The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."
Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.
Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.
Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.
Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.
The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
See Appendix for a list of Milch Gallery exhibitions and checklists
Arrangement:
Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.
Series 1: Alphabetical Files, 1911-1962
Series 2: Sales Records and Inventories, 1911-1969, undated
Series 3: Financial Records, 1914-1980, undated
Series 4: Printed Matter, 1996, 1910-1967, undated
Series 5: Photographs, 1903-circa 1944, undated
Series 6: Miscellaneous, 1916-1970, undated
Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)
Historical Note:
Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.
Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).
From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.
Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.
Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.
1911 -- Edward Milch Galleries opens at 939 Madison Ave.
1912 -- First exhibition at Edward Milch Galleries
1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.
1918 -- Milch Galleries Art Notes begins publication
1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary
1947 -- Milch Galleries moves to 55 East 57th St.
1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary
1953 -- Death of Edward Milch (1865-1953)
1957 -- Milch Galleries moves to 21 East 67th St.
1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)
1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery
1981 -- Death of Harold C. Milch (1904-1981)
1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)
Appendix: List of Milch Gallery Exhibitions and Checklists:
Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.
Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists
Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On
April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox
Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes
Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists
Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West
Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture
Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch
April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.
Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne
Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California
Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer
Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.
Feb. 14-26, 1916* -- Paintings by Guy Wiggins
Nov. 4-18, 1916* -- Opening Exhibition
Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb
Jan. 15-27, 1917* -- Paintings by Helen M. Turner
Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.
Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill
March 6-24, 1917 -- Ten American Painters
March 13-24, 1917* -- George Bellows
March 14-24, 1917* -- Paintings by Frederick J. Waugh
March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.
April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock
April 15-27, 1917* -- Paintings by Valentino Molina
April 24-May 5, 1917* -- Paintings by Thalia Millet
Oct. 27-Nov. 17, 1917* -- William Jean Beauley
Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell
Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"
Feb. 25-March 16, 1918* -- Paintings by Robert Henri
March 13-24, 1918 -- George Bellows
March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey
April 8-, 1918* -- Etchings by Allen Lewis
Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.
Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell
Jan. 13-25, 1919* -- Paintings by Mary Prindeville
Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf
Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin
Feb. 18-March 1, 1919* -- Paintings by Jerome Myers
March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.
March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.
March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus
April 8-30*, 1919 -- Paintings by Leading American Artists
April 19-May 1*, 1919 -- Paintings by Valentino Molina
May 3-22, 1919 -- Recent American Sculpture
May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden
May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam
Nov. 16-Dec. 6, 1919 -- Childe Hassam
Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam
Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists
Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave
Feb. 2-14, 1920 -- George Biddle
Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle
Feb. 16-28, 1920* -- Paintings by Ossip L. Linde
March 1-12, 1920 -- Bruce Crane
March 1-13, 1920 -- Bruce Crane, A.N.A.
March 15-April 3, 1920 -- Willard L. Metcalf
April 5-20, 1920 -- Paintings
April 8-30 [1920] -- Exhibition of Paintings by Leading American Artists
April 15-May 1, 1920 -- Valentino Molina
Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards
Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert
Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein
Nov. 15-27, 1920 -- Childe Hassam
Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky
Dec., 1920* -- Exhibition by George Biddle
Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz
Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith
circa 1920 -- Ossip L. Linde
circa 1920 -- William Meyrowitz
circa 1920 -- Exhibition
Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy
Jan. 31-Feb. 12, 1921 -- American Art
Feb. 14-26, 1921 -- Guy Wiggins
Feb. 14-26, 1921 -- Arthur G. Goodwin
Feb. 28-March 12, 1921 -- Paintings by Robert Henri
March 14-April 9, 1921 -- Paintings by Gari Melchers
March 28-April 9, 1921 -- Peter Marcus
April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps
April 11-30, 1921 -- Paintings by Willard Metcalf
May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds
Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards
Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams
Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne
Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements
Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky
Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings
circa 1921 -- Exhibition
Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams
Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall
Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.
March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine
March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.
Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White
Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter
Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.
Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf
March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard
March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.
April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto
April 19-May 6, 1923 -- Paintings by Leading American Artists
Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.
Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)
Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce
Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg
Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman
Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf
March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.
Dec. 1-27, 1924 -- Maurice Fromkes
Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen
Jan. 19-31, 1925 -- Martha Walter
Feb. 16-March 7, 1925 -- Willard L. Metcalf
March 9-21, 1925 -- John Noble
March 23-April 11, 1925 -- Bruce Crane
May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits
May 18-30, 1925 -- Paintings by Robert Brackman
Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf
Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,
Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond
Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm
Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel
April 13-May 2, 1926 -- Jonas Lie
April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley
Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen
Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson
Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto
Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)
Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield
Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons
Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke
March 28-April 16, 1927 -- Paintings by Henry Golden Dearth
April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland
April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston
Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson
Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass
Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers
Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish
Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria
Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard
Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson
Feb. 7-April 29, 1928 -- Alfred Hutty
Feb. 13-25, 1928 -- Water Colors by Alice Judson
March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons
March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman
March 12-24, 1928 -- Sculpture by Heinz Warnecke
March 26-April 14, 1928 -- Water Colors by John Whorf
April, 1928 -- Water Colors by William Ritschel, N.A.
April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis
Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok
Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia
Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson
Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge
Dec. 1-28, 1928 -- Alfred Hutty
Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters
Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess
Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia
Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.
Dec. 27-Jan. 14, 1929 -- Erick Berry
Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition
Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard
circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson
Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson
Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm
Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway
Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne
Feb. 25-March 9, 1929 -- Paintings by Truman Fassett
March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski
March 11-23, 1929 -- Louis Ritman
March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond
March 25-April 6, 1929 -- Water Colors by Armin Hansen of California
March 25-April 6, 1929 -- Sculptures by Roy Sheldon
April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist
Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer
Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke
Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley
Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever
Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok
Dec. 2-21, 1929 -- Paintings by Maurice Fromkes
Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge
Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley
March 15-April 3 [192?] -- Paintings by Willard L. Metcalf
March 28-April 16 [192?] -- Paintings by Henry Golden Dearth
April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A
Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah
Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards
Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.
Oct. 25-Nov. 13 [192?] -- John F. Carlson
[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming
Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge
Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry
Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White
Feb., 1930 -- Thelma Wood
Feb. 3-15, 1930 -- Paintings by Horace Brown
Feb. 17-March 1, 1930 -- Paintings by Francis Speight
Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess
March 3-15, 1930 -- Paintings by John Noble
March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors
March 17-29, 1930 -- Alexander Warshawsky
March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou
March 31-April 12, 1930 -- Emmanuel Andrew Cavacos
April 14-26, 1930 -- Water Colors by John Whorf
Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton
Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Nov. 17-29, 1930 -- Joseph Szekely
Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"
Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture
Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley
Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston
Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire
Jan. 20-Feb. 1, 1931 -- Nelson C. White
Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass
Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle
Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman
Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess
Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor
March 2-14, 1931 -- Recent Paintings by Alice Judson
March 2-28, 1931 -- Paintings & Drawings by Gari Melchers
March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown
March 30-April 11, 1931 -- Paintings by Louis Kronberg
March 30-April 11, 1931 -- Watercolors by John Whorf
April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits
April 13-25, 1931 -- Louis Kronberg
April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah
April 13-May 2, 1931 -- Abbott H. Thayer
Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson
Oct. 19-30, 1931 -- Portraits by William Steene
Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi
Nov. 9-21, 1931 -- Paintings by Bessie Lasky
Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies
Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards
Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore
Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge
Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.
Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber
Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris
Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters
March 7-19, 1932 -- Paintings by Mrs. B. King Couper
March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll
March 28-April 9, 1932 -- Watercolors by John Whorf
April 11-30, 1932 -- Forty Years of American Art
Oct. 3-15, 1932 -- New Paintings by American Artists
Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier
Nov. 7-30, 1932 -- Paintings by Edward Bruce
circa 1932 -- Recent Paintings by Stephen Etnier
Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins
March 6-25, 1933 -- 19th and 20th Century Watercolors
March 27-April 14, 1933 -- Paintings by Francis Speight
April 17-May 6, 1933 -- Water Colors by John Whorf
May 15-31, 1933 -- 19th Century American Landscape Artists
Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur
Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier
March 19-April 7, 1934 -- Water Colors by John Whorf
April 16-May 5, 1934 -- Bali Studies by Maurice Sterne
June-Aug., 1934 -- Paintings by American Artists
Sept., 1934 -- Paintings by American Artists
Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists
Nov. 5-21, 1934 -- Paintings by Sidney Laufman
Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce
circa 1934 -- American Figure Paintings of the 19th and 20th Century
Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate
Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists
March 4-22, 1935 -- Recent Paintings by Stephen Etneir
March 25-April 13, 1935 -- Water Colors by John Whorf
April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll
May 20-June, 1935 -- Group Exibhition of Paintings
Summer, 1935 -- Paintings by American Artists
Oct. 1-26, 1935 -- Paintings by Childe Hassam
Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets
through Dec., 1935 -- Paintings by Americans
Jan. 1936 -- Paintings by Americans
Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters
March 2-21, 1936 -- Stephen Etnier
March 30-April 19, 1936 -- Watercolors by John Whorf
May 18-June, 1936 -- Paintings by American Artists
Summer, 1936 -- Paintings by American Artists
September, 1936 -- Paintings by American Artists
Oct. 12-31, 1936 -- Contemportary Viewpoint
through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings
circa 1936 -- Landscapes--Contemporary Viewpoint
Jan. 11-30, 1937 -- Selected Landscapes
Feb., 1937 -- Contemporary American Sculpture
March 15-April 3, 1937 -- Watercolors by Millard Sheets
April 12-30, 1937 -- John Whorf
April 27-May 16, 1937 -- Maurice Sterne
May, 1937 -- Paintings by American Artists
Summer, 1937 -- Paintings
Oct. 1-15, 1937 -- Recent Watercolors
Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche
Nov. 8-30, 1937 -- Paintings by American Artists
Dec. 6-24, 1937 -- Watercolors by Lester Field
Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier
Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper
Feb. 7-26, 1938 -- Colonial Portraits
March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet
April 4-23, 1938 -- Recent Watercolors by John Whorf
Summer, 1938 -- Paintings by American Artists
through Oct., 1938 -- Paintings by American Artists
Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer
Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists
Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer
Feb. 6-25, 1939 -- Harry Hering
March 6-31, 1939 -- Figure Paintings by American Artists
April 3-22, 1939 -- Recent Watercolors by John Whorf
May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets
Summer, 1939 -- Selected Group of Paintings by American Artists
Sept., 1939 -- Paintings and Watercolors by American Artists
through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists
Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary
Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis
Dec., 1939 -- Paintings for the Home
Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix
[193?] -- Paintings by American Artists
Jan. 2-27, 1940 -- Stephen Etnier
Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson
March 11-30, 1940 -- Daniel Serra Paintings
April 8-27, 1940 -- Recent Watercolors by John Whorf
April 28-May 18, 1940 -- Rubin Recent Paintings
through June 29, 1940 -- Paintings by a Selected Group of American Artists
through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists
Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists
Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer
Nov. 18-Dec. 7, 1940 -- Helen Sawyer
Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne
Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists
Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight
April 7-26, 1941 -- Recent Watercolors by John Whorf
April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol
May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists
Summer, 1941 -- Exhibition of Selected Paintings by American Artists
Sept., 1941 -- A Selected Group of Paintings by Americna Artists
Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists
Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors
Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway
Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball
Dec. 8-27, 1941 -- Edith Blum Paintings
Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier
through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists
March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists
April 6-25, 1942 -- Recent Watercolors by John Whorf
May, 1942 -- Selected Paintings by Contemporary American Artists
June 2-13, 1942 -- Yun Gee
Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists
Summer, 1942 -- Paintings by Selected American Artists
Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists
Nov. 9-30, 1942 -- Watercolors by American Artists
Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch
April 4-24, 1943 -- Recent Watercolors by John Whorf
April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam
May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook
June, 1943 -- Selected Paintings by American Artists
Summer, 1943 -- Exhibition of Paintings by American Artists
Sept., 1943 -- Paintings by a Selected Group of American Artists
Oct. 4-23, 1943 -- Paintings by Yun Gee
Nov., 1943 -- Recent Paintings by a Selected Group of American Artists
Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald
Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman
March 6-25, 1944 -- Paintings by Jessie Ansbacher
April 3-22, 1944 -- Recent Watercolors by John Whorf
May, 1944 -- Paintings by Important American Artists
Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists
Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists
Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway
Oct. 23-Nov. 11, 1944 -- Harry Hering
Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman
Dec., 1944 -- Paintings for the Home by American Artists
Jan. 3-13, 1945 -- Paintings by Therese Steinhardt
Jan. 22-Feb. 10, 1945 -- Louis Ritman
Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.
Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod
April, 1964 -- Watercolors and Pastels
April 21-May 9, 1964 -- Grigory Gluckmann
May 13-29, 1964 -- Frank di Gioia Recent Paintings
Oct., 1964 -- Group Exhibition
Nov. 3-21, 1964 -- Stephen Etnier
Nov. 24-Dec. 12, 1964 -- Thomas Blagden
Jan., 1965 -- Comtemporary American Artists
Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley
Feb. 2-14, 1965 -- Exhibition by George Biddle
Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm
Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin
Feb. 16-28, 1965 -- Water Colors by Matilda Browne
Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn
March, 1965 -- 19th and 20th Century American Artists
March 1-13, 1965 -- Bruce Crane, N.A.
March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin
March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.
March 23-April 10, 1965 -- Paintings by Dan Lutz
March 28-April 16, 1965 -- Paintings by Henry Golden Dearth
April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.
April 13-May 1, 1965 -- Paintings by Louis Bosa
April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim
May, 1965 -- Gallery Contemporaries
Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.
Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin
Nov. 2-14, 1965 -- Paintings by Ann Crane
Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.
Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne
Nov. 16-Dec. 4, 1965 -- Electra Bostwick
Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia
Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965
Jan.-Feb., 1966 -- 19th and 20th Century American Artists
Feb.-March, 1966 -- Group Exhibition
June, 1966 -- Group Exhibition
Oct. 11-29, 1966 -- Thomas Blagden
Nov. 1-19, 1966 -- Stephen Etnier
Nov. 22-Dec. 10, 1966 -- Pleissner
Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez
April, 1967 -- Group Exhibition
April 18-May 6, 1967 -- Grigory Gluckmann
July, 1967 -- Group Exhibition
undated -- Etchings and Color-Etchings
undated -- Etchings of China and Cambodia by Lucille Douglass
undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.
undated -- Paintings by Ossip L. Linde
undated -- Etchings by William Meyerowitz
undated -- Recent Screens and Panels by Roy Mac Nicol
undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists
undated -- Paintings by Clement
undated -- Important Works in Paintings and Sculpture by Leading American Artists
Jan. 3-14, undated -- Armin Hansen
Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz
Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century
Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams
Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.
Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams
Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge
Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers
Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen
Jan. 30-Feb. 11, undated -- Sigrud Skou
Feb. 13-25, undated -- Water Colors by Alice Judson
Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.
Feb. 13-March 11, undated -- Paintings by H.T. Keasbey
Feb. 15-March 5, undated -- Frederic James
Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood
Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow
Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman
Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff
March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin
March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth
March 7-26, undated -- Sigurd Skou
March 8-20, undated -- Paintings by Sigurd Skou
March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings
March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen
March 26-April 12, undated -- Paintings by E. Martin Hennings
March 26-April 14, undated -- Recent Etchings by Elias M. Grossman
March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa
April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer
April 7-19, undated -- Figure Paintings by Louis Ritman
April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps
April 12-24, undated -- Paintings of American Gardens by Abbott Graves
April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)
April 19-May 1, undated -- Paintings by Valentino Molina
April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.
April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist
April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon
April 24-May 5, undated -- Paintings by Thalia Millett
April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn
April 26-May 15, undated -- William H. Singer
April 27-May 16, undated -- Recent Paintings by Gluckmann
May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors
May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden
Oct. 11-23, undated -- Paintings by Anna Heyward Taylor
Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson
Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy
Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.
Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job
Oct. 31-Nov. 14, undated -- Drawings by James Wilkie
Nov. 5-17, undated -- Paintings of Venice
Nov. 15-27, undated* -- Water Colors by Childe Hassam
Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty
Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield
Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley
Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok
Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.
Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell
Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber
Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon
Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky
Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce
Nov. 26-Dec. 5, undated -- Alfred Hutty
Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou
Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes
Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size
Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters
Dec. 6-30, undated -- Selected Paintings for the Home by American Artists
Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard
Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home
Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition
Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot
Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists
Provenance:
Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.
Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.
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.
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Scope and Content Note:
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.
Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.
Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.
Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.
Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.
Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.
A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.
There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.
Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.
Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.
Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.
Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.
Arrangement:
The collection is arranged as 10 series; all series are arranged chronologically:
Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)
Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)
Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)
Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)
Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)
Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)
Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)
Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)
Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)
Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)
Biographical Note:
Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.
Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.
Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.
Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.
In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.
Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.
Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.
Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.
Provenance:
Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials 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.
An interview of Edith Halpert conducted 1962-1963, by Harlan Phillips, for the Archives of American Art.
Halpert speaks of her childhood in Russia and growing up in New York City; working at Bloomindale's, Macy's, Stern Brothers, and Cohen Goldman; her marriage to artist Sam Halpert, his health, and living in Paris in 1925; becoming an art student at the Academy of Design and feeling that Leon Kroll was an excellent art teacher until he began to correct her drawings; when George Bridgman thought she was ruining his class; the Lincoln Square Arcade, when she and Ernest Fiener and Robert Brackman would rent Conan's studio evenings and bring in instructors; how Newman Montross influenced her more than anybody about showing her art that she loved; burning all of her work because Kroll said she had no talent; receiving a painting from John Marin; her friendship and working relationship with Abby Rockefeller and other family members.
She recalls opening the Downtown Gallery, in Greenwich Village, in 1926; a brief history of modern art; many artists helping decorate the new Daylight Gallery in 1930 and the first show being called "Practical Manifestations of Art"; meeting Robert and Sonia Delaunay in France; when she refused to allow Ezra Pound to speak at one of the gallery lectures because of his anti-Semite remarks and William Carlos Williams and Ford Madox Ford argued with her over it; experiencing jealousy and professional attacks from other dealers; the successful "Pop" Hart show and book in 1929; the "Thirty-three Moderns" show in 1930 at the Grand Central Galleries; the Jules Pascin show in 1930; in America, most of the art buyers supporters of culture were women, until the WPA and World War II, when it became fashionable for men to be involved; Ambroise Vollard's advice on selling art; handling the frustrations of working in the art field; friendships with Stuart Davis,Charles Sheeler, and Ben Shahn; how artists work through dry periods in their creativity and the "Recurrent Image" show; a discussion on modern art galleries of New York City, such as Daniel, Knoedler, Ferargil, the New Gallery, 291, the Grand Central, Kraushaar, and Montross; her travels through Pennsylvania and Maine for good examples of folk art for the gallery; the "The Artist Looks at Music" show; the non-competitive spirit of the early modern American artists; of being saved financially in 1940 by selling a William Harnett painting to the Boston Museum and then renting new space for the gallery.
Also, Mitchell Siporin bringing Halpert and Edmund Gurry to Mitchell Field during World War II for a camouflage show and consequently Downtown Gallery artists and others were enlisted in the camouflage corps for the U.S. Air Force; Charles Sheeler and his wife find Halpert a house in Newtown, Conn.; her decision in 1933 to push folk art for acquisition by the William Rockhill Nelson Gallery in Kansas City, Missouri; her great concern about what to do with her folk art literature collection; dismay and that no one writes about the history of folk art and those responsible for its creation and popularity; Louis Stern hiring her to organize a municipal exhibit in Atlantic City, N.J., with Donald Deskey designing the furniture and Holger Cahill managing the publicity; Joe Lillie helping her meet Fiorello La Guardia and Joe McGoldrick in 1934 about a municipal show in New York City, but it is moved to Radio City Music Hall through Nelson Rockefeller; the "Salons of America" show; wanting articles written about art for love rather than art for investment; working with Aline Saarinen on her book, "Proud Possessors;" letters from Stuart Davis, William Zorach and others that hurt her feelings; enjoying giving educational lectures and considering retirement because of ill health; the desire to write a book on the history of trade signs in folk art; feeling that the young artists are being ruined by too much support without working for it; planning to write a book entitled, "Unsung Heroes," about artists brave enough to experiment; organizing a show in Russia at her own expense; later representing the U.S. in art at the "American National Exposition"; the agitators and success of the exposition; Alfred Stieglitz and Georgia O'Keeffe.
Halpert also recalls Juliana Force, Gertrude Vanderbilt Whitney, Yasuo Kuniyoshi, Buckminster Fuller, George Luks, Edsel Ford, Max Weber, Danny Diefenbacker, Hamilton Easter Field, Frank Stella, Glenn Coleman, Margaret Zorach, Diego Rivera, Frida Kahlo, Henry Mercer, Romany Marie, Edward G. Robinson, Paul Mellon, Charles Pollet, Alex Brook, Lunca Curass, Dorothy Lambert, Duncan Candler, Frank Rhen, Louis Rittman, Bea Goldsmith, Arthur Craven, Robert Frost, Philip Wittenberg, Caesar de Hoke, Richard deWolfe Brixey, Seymour Knox, Walt Kuhn, Elisabeth Luther Cary, Charles Locke, Duncan Fergusson, Mrs. Solomon Guggenheim, Bob Tannahill, David Thompson, Marsden Hartley, Erwin Barrie, Robert Laurent, Conger Goodyear, Henry McBride, Edward Hopper, Charles Daniel, William Merritt Chase, Charles Hopkinson, Thomas Hart Benton, Frank Crowninshield, Alfred Barr, Lord Duveen, Jacob Lawrence, John Marin Jr., Karl Zerbe, Franz Kline, Arthur Dove, Julian Levy, Jack Levine, Valentine Dudensing, Peggy Bacon, Stefan Hirsch, Gertrude Stein, Isamu Noguchi, Jasper Johns, Chaim Soutine, B. K. Saklatwalla; Fernand Leger, Pablo Picasso, Ben Shahn, Charles Demuth, Alexander Calder, Jackson Pollock, Edward Steichen, Carl Sandburg, Clement Greenberg, and others.
Biographical / Historical:
Edith Halpert (1900-1970) was an art dealer from New York, N.Y.
General:
Originally recorded on 7 tape reels. Reformatted in 2010 as 27 digital wav files. Duration is 32 hrs., 27 min.
Provenance:
This interview is part of the Archives of American Art 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 others. The transcript was microfilmed in 1996.
Letters; photographs; writings; sketches; financial records; a scrapbook; a phonograph album; exhibition announcements and clippings mainly relating to Mark Tobey.
REEL 3829: Six letters to Dahl from Mark Tobey; a letter from Jermayne MacAgy requesting Tobey's painting "Autobiography" for an exhibit and Dahl's response; a letter from the Whitney Museum of Art regarding a Tobey painting; and a letter from the National Spiritual Assembly of the Bahai's of the U.S. regarding a Tobey exhibit. Also included is a phonograph album, 1959, of a Tobey musical composition "Suite for Flute," performed by John Wummer, inscribed on the jacket "To Mark Tobey, composer - Marion - 12/59."
REELS 1785-1788: Correspondence; writings on Tobey; three sketches by Tobey; financial records relating to the sale of art works; organizational records of the Pacific Northwest Arts Center; exhibition announcements and catalogs; clippings; a scrapbook; and 13 photographs. Among the correspondents are Tobey, Pehr Hallsten, art dealers Otto D. Seligman, Dan Rhodes Johnson, and Marian Willard Johnson, museum curator William C. Seitz, and Tobey's attorney Arthur Barnett.
REEL 1819: Photographs of two retrospective exhibitions of Mark Tobey's paintings at the Musee des Arts Decoratifs, Louvre, Paris, 1961, and at the Museum of Modern Art, New York, 1962. Included are installation shots and photographs of Tobey, Pehr Hallsten, William C. Seitz, Joyce Lyon Dahl, Andre Malraux, Georges Mathieu, Otto Seligman, Darthea Speyer, Arthur Barnett, Marian Willard Johnson, and Jacques Guerin.
REEL 4909(fr. 972-980): Two letters 1971 & 1975, from Arthur Barnett to Arthur Dahl regarding Tobey; a black and white photograph taken by Arthur Dahl of Mark Tobey having tea with friends, including Joyce Dahl, on the occassion of his retrospective at the Louvre, 1961; and a snapshot of Dahl, his wife, Tobey, Pehr, and others taken at the home of George and Lucile Herbert.
Biographical / Historical:
Art collectors; Pebble Beach and San Francisco, California. The Dahls became close friends with Mark Tobey (1892-1976) through their involvement in the Baha'i World Faith and corresponded regularly with him.
Provenance:
Donated 1977-1986 by Arthur and Joyce Lyon Dahl.
The second movement of Mark Tobey's composition, "Suite for Flute," was used on the sound track of "Mark Tobey," a 20-minute experimental film made in Seattle in 1952 by Robert Gardner. In 1959, Marian Willard Johnson, on the occasion of Tobey's birthday, engaged John Wummer to record this work privately. The record contained within this set of papers is the one she gave to Mark Tobey. Tobey gave the record to Dahl sometime before moving to Switzerland in 1960.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach Family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.
Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.
The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.
The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.
Other photographs are of works of art, most of which depict William's works.
Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:
Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)
Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)
Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)
Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)
Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)
Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)
Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)
Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)
Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)
Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.
Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.
In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.
In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.
Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.
William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.
Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.
The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals 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 dealers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
0.2 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1889-1963
Scope and Contents:
Letters; sketches; a photograph; exhibition catalogs; and miscellaneous items.
REEL 876: Items from Wyckoff's autograph collection, including a letter, October 21, 1905, from Albert P. Ryder, enclosing a poem he has written for her; a photograph of Ryder; a letter, September, 1897, to Mr. Ludwig (Wyckoff's father) from Peter Newell, written from Paris, France, after one month's stay in the country; and a little poem by Newell accompanied by a sketch.
UNMICROFILMED: Sketches by Peter Newell and Alexander Schilling; impressions from the destroyed plate of "Finette" and "Little Venice", by Whistler; an oil sketch by William Gedney Bunce, 1892; exhibition catalogs; and miscellaneous items. [Attached are Alexander Wyckoff's explanations of some of this material.]
Biographical / Historical:
Collector.
Provenance:
Donated 1974-1975 by Alexander Wyckoff, son of Wyckoff.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.
Series 1: Biographical Information, 1885-1931, undated
Series 2: Correspondence, 1843-1940, undated
Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905
Series 4: Legal Records, 1881-1928
Series 5: Financial Records, 1870-1989, undated
Series 6: Diaries, 1894-1901
Series 7: Notes and Writings, 1872-1980, undated
Series 8: Scrapbooks, 1878-1909
Series 9: Printed Material, 1873-1990, undated
Series 10: Photographs, 1898-1990
Series 11: Photographs of Works of Art, undated
Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.
Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.
After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.
Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.
With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.
Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.
Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.
1855 -- Charles McMeen Kurtz born
1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania
1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania
1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College
1878-79 -- becomes the local editor of The Guardian of New Castle
1879 -- publishes The Daily Reporter, a financial success
1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)
1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition
1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd
1882-83 -- accepts position to write for Music and Drama, a new daily paper
1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display
1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky
1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September
1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886
1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them
1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born
1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts
1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star
1890 -- writes for the Sunday edition The Press, a New York paper
1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth
1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition
1894 -- contributes column, "Art at the Exposition" to St. Louis Life
1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition
1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition
1896 -- elected member of The Japan Society, London
1897 -- daughter, Elizabeth (Daisy), dies
1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha
1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health
1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August
1901 -- daughter, Isabella Starkweather Kurtz, born
1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"
1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April
1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania
1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit
1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College
1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21
1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25
1931 -- Widow, Julia Stephenson Kurtz dies October 30
1977 -- Daughter, Julia Wilder Kurtz, dies
1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.
Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
Glasgow painting diary, Microfilm reel 4912: Authorization to publish, quote, or reproduce requires written permission from Yale Center for British Art. 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.
The records of Jacques Seligmann & Co. measure approximately 203.1 linear feet and date from 1904 to 1978, with bulk dates from 1913 to 1974. The collection includes extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies. The collection is an invaluable resource in tracing the provenance of particular works of art and provides a comprehensive view of the activities of collectors and art dealers in the years leading up to and following World War II.
Scope and Contents note:
The Jacques Seligmann & Co., Inc., records measure approximately 203.1 linear feet and date from between 1904 and 1978, with bulk dates of 1913-1974. The records include extensive correspondence files, reference material on American and European collectors and their collections, inventory and stock records, financial records, exhibition files, auction files, and the records of subsidiary companies, including de Hauke & Co., Inc., and Modern Paintings, Inc.
Historians and researchers will find the collection an invaluable resource in tracing the provenance of particular works of art. Although in the early 1940s many records in the Paris office were destroyed by Seligmann staff to keep them from falling into the hands of the occupying German military forces, many records survive, as much of the firm's business had previously come to center in the New York office. In all, the remaining records provide a comprehensive view of the activities and transactions of collectors and art dealers in the years leading up to and following World War II.
Correspondence (Series 1) is the largest series of the collection (80 linear feet) and is comprised of extensive correspondence files, primarily between Germain Seligman and his New York office staff with domestic and foreign private clients, collectors, dealers, individuals representing public museums and collections, and international scholars. The New York Office Correspondence (Series 1.1) concerns a wide variety of topics, including routine business matters, but focuses primarily on potential and realized sales and purchases and provenance documentation. Also found is detailed information on financial transactions, commissions, stock inventory, and the travel of Germain Seligman and other staff. Paris Office Correspondence (Series 1.2) is separated into a small subseries and contains correspondence written primarily by Jacques Seligmann from Paris. The subseries General Correspondence (Series 1.3) is the largest subsection of the Correspondence series and contains letters written to and received from clients and other business associates concerning business transactions and inquiries. The subseries Museum Correspondence (Series 1.4) contains letters between the firm and art institutions and museums. The subseries Germain Seligman's Correspondence (Series 1.5), contains not only personal letters but a wealth of information concerning the affairs of the firm. Much personal correspondence was marked "private."
Also of note in the Correspondence series are the Legal Correspondence Files (Series 1.6) and the Inter-Office Correspondence (Series 1.9) and Inter-Office Memoranda (Series 1.13). The Legal Correspondence Files subseries houses correspondence with both U.S. and Paris attorneys and concerns legal affairs and specific lawsuits. Of particular interest are Germain Seligman's attempts to recover Seligmann family and Paris gallery artwork and other assets stolen or confiscated by the Germans in World War II. This small subseries also contains limited information on the stock and inventory holdings of several of the firm's and Germain Seligman's subsidiary corporations, family legal affairs and lawsuits, and other related legal matters. The subseries Inter-Office Correspondence and Inter-Office Memoranda (called fiches by Seligmann staff) include memos between Germain Seligman and his staff about clients, collectors, sales, acquisitions, and other matters. These offer interesting commentary clearly intended to be read by staff only.
Also prominent is Collectors Files (Series 2), which contains numerous reference files documenting the collections of existing and potential clients with whom Seligmann & Co. maintained contacts. The files are arranged by either individual name or institution and reflect the wide scope of collector references maintained by the firm throughout its operating years. The files contain a variety of reference materials, such as photographs, provenance notes, and sales, purchase, and inventory information in cases where the collector purchased from the firm or the firm purchased from the collector. Researchers will find that many of the private and public names that appear in General Correspondence (Series 1.3) appear in the Collectors Files as well. Also found in this series are specific files relating to the Duc d'Arenberg Collection, the Clarence H. Mackay Collection, the Mortimer L. Schiff Collection, and the Prince of Liechtenstein Collection. The firm either handled substantial estate sales for these collections or purchased and sold important pieces from these collections.
Auction Files (Series 3) and Exhibition files (Series 4) trace the sales and exhibition activities undertaken by Jacques Seligmann & Co., Inc. In the Auction files, researchers will find documentation of auctions of individual works of art owned by the firm and handled by Christie's, Parke-Bernet, and other auction houses. Of particular interest is the 1948-1949 Parke-Bernet auction of the C. S. Wadsworth Trust, a "dummy" trust set up by the firm to dispose of a portion of its unsold inventory. The Exhibition Files house a variety of documentation, such as catalogs and correspondence, concerning the firm's active exhibition history. Many of the exhibitions featured works of art recently acquired by the firm, such as the 1937 exhibition, Twenty Years in the Evolution of Picasso, which included a number of Picassos the firm acquired from Madame Jacques Doucet that year.
Reference Files (Series 5) includes a card catalog to books and catalogs in the library maintained by Jacques Seligmann & Co., Inc., and a photograph reference index of works of art. Inventory and Stock Files (Series 6) tracks the firm's inventory through a series of stock books and supporting documentation that include sales and provenance information.
Financial Files and Shipping Records (Series 7) consists primarily of records of the New York office, but some Paris office documents can be found scattered throughout. Found in this series is a wide variety of financial records including purchase receipt files, credit notes, invoices, consignment invoices and books, invoices, consular invoices, sales and purchase account books, ledgers, and tax records. The records appear to be quite complete and date from 1910 to 1977. Of particular interest are the purchase receipts and credit notes and memoranda that contain detailed documentation on acquisitions and sales. The consignment invoices provide information about works of art sold on behalf of other galleries and dealers, as well as which galleries and dealers were handling works of art for Jacques Seligmann & Co., Inc. Although quite large and complex, the financial records offer a comprehensive overview of the firm's business and financial transactions.
The records of subsidiary companies that were part of Jacques Seligmann & Co., Inc., such as Contemporary American Department, de Hauke & Co., Inc., Modern Paintings, Inc., and Gersel Corp. are arranged in their own series. In 1935, the firm established the Contemporary American Department to represent young American artists. Under the direction of Theresa D. Parker, a longtime gallery employee, the department initiated an exhibition and loan program. Contemporary American Department (Series 8) includes mostly correspondence files and exhibition files.
The largest subsidiary company to operate under Jacques Seligmann & Co., Inc., was de Hauke & Co., Inc. De Hauke & Co., Inc., Records (Series 9) dates from 1925 through 1949 and contains domestic and foreign correspondence with clients, collectors, and dealers; inter-office correspondence and memoranda with Jacques Seligmann & Co., Inc.; administrative and legal files; and financial records. Modern Paintings, Inc., records (Series 10) contains the legal and financial files of this subsidiary company, which was established in 1930 to incorporate most of the stock of the liquidated de Hauke & Co., Inc. Gersel Corp. Records (Series 11) contains a small amount of material from this company.
Researchers should note that a scattering of records from most of the subsidiary companies may also be found throughout additional series, particularly Inventory and Stock Files (Series 6) and Financial Files and Shipping Records (Series 7). Records for the firms Tessa Corp. and Georges Haardt & Co., which were also owned by Germain Seligman, are not part of the Jacques Seligmann & Co., Inc., Records, although scattered references to these two firms may be encountered throughout the collection.
German Seligman's Personal papers (Series 12) includes scattered family and biographical materials, his research and writings files, and documentation of his personal art collection. Found in Family and Biographical Material (Series 12.1) are photographs of family members, including Jacques Seligmann, and of the Paris gallery. Also found is a limited amount of correspondence concerning Germain Seligman's residency status and his desire to obtain an army commission during World War II. Germain Seligman's research and writing files are found in this series and include material for his books: Roger de La Fresnaye, with a Catalogue Raisonné (1969); Merchants of Art, 1880-1960: Eighty Years of Professional Collecting (1961); The Drawings of Georges Seurat (1947); and Oh! Fickle Taste; or, Objectivity in Art (1952). Documentation of Germain Seligman's private art collection is arranged in this series and includes provenance and research files and correspondence concerning his art collection.
Overall, the historical records of Jacques Seligmann & Co., Inc., offer researchers a comprehensive and detailed resource for studying one of the most active dealers in decorative arts, Renaissance, and European contemporary art. The records clearly document the firm's numerous acquisitions and sales of important works of art to well-known European and American collectors and museums as well as Germain Seligman's extensive client contacts and references. The collection offers an insightful, intriguing, and often fascinating view into the complex field of art sales, trading, and acquisition during the first half of the twentieth century, when many major collections in the United States were formed.
Researchers interested in tracing the provenance of individual works of art should carefully check each series of the collection for information to obtain a complete history for any work. Jacques Seligmann & Co., Inc., staff set up many different files to cross-reference works of art from various angles, such as artist or creator; collector or collection; most recent owner or repository location; stock inventory number, if owned by Seligmann & Co.; and photographic reference files. The task is made somewhat more difficult by the number of commission sales and joint ownership of works of art, often documented solely in the Inventory and Stock Files (Series 6) or the Financial Files and Shipping Records (Series 7). Only by tracing a name or date through the various series can one find all of the information relating to a particular work of art and its provenance.
Arrangement note:
Following is an outline of the arrangement of the collection by series and corresponding box numbers and extent. More detailed information for each series and subseries, along with a box and folder inventory, is found in the Series Descriptions/Container Listings, which can be found by following the series links below. Glass plate negatives are housed separately and closed to researchers.
Series 1: Correspondence, 1913-1978 (1-174, 80 linear feet)
Series 2: Collectors Files, 1875, 1892-1977, undated (Boxes 175-252, 35 linear feet)
Series 3: Auction Files, 1948-1975, undated (Boxes 253-259, 2.75 linear feet)
Series 4: Exhibition Files, 1925-1977, undated (Boxes 260-272, 5.5 linear feet)
Series 5: Reference Files, 1877-1977, undated (Boxes 273-278, 2.25 linear feet)
Series 6: Inventory and Stock Files, 1923-1971, undated (Boxes 279-289, 4.5 linear feet)
Series 7: Financial Files and Shipping Records, 1910-1977 (Boxes 290-357, 30.5 linear feet)
Series 8: Contemporary American Department, 1932-1978 (Boxes 358-381, 10 linear feet)
Series 9: De Hauke & Co., Inc., Records, 1925-1949, undated (Boxes 382-416; 16 linear feet)
Series 10: Modern Paintings, Inc., Records, 1927-1950 (Boxes 417-420, 1.25 linear feet)
Series 11: Gersel Corp. Records, 1946-1969 (Box 421, 0.25 linear feet)
Series 12: Germain Seligman's Personal Papers, 1882, circa 1905-1984, undated (Boxes 422-459, OV 460, 17 linear feet)
Biographical/Historical note:
Jacques Seligmann & Co., Inc., was counted among the foremost French and American art dealers in antiquities and decorative arts and was among the first to foster and support the growth and appreciation for collecting in the field of contemporary European art. The company's clients included most of the major American and European art collectors of the era, and the art that passed through its galleries often ended up in the collections of prominent American and European museums through the donations of the wealthy benefactors who purchased them from the company. Jacques Seligmann & Co., Inc., took an active part in promoting such donations as well as providing its own donations and selling paintings, sculpture, and decorative arts directly to many museums.
The company was first established as Jacques Seligmann & Cie. in 1880 on the Rue des Mathurins in Paris by Jacques Seligmann (1858-1923), a German émigré who came to France in 1874 and soon thereafter became a French citizen. The company experienced so much success that in 1900 a new, larger Galerie Seligmann was opened on the Place Vendôme, and Jacques's two brothers, Simon and Arnold, joined the business as partners. Simon served as the company's accountant, and Arnold was in charge of correspondence with the firm's many clients. Jacques remained as the manager and was in charge of all purchases for the firm.
Prominent clients of the company included Baron Edmond de Rothschild of France, the Stroganoff family of Russia, Sir Philip Sassoon of England, and American collectors Benjamin Altman, William Randolph Hearst, J. P. Morgan, Henry Walters, and Joseph Widener. As American clients increasingly came to dominate the company's sales activities, a New York office at 7 West Thirty-sixth Street was opened in 1904. Five years later, Jacques purchased the Hôtel de Sagan (also called the Palais de Sagan by the Seligmann family) in Paris as a location where Jacques Seligmann & Cie. could stage larger exhibitions and receive its most distinguished clients.
In 1912 a family quarrel resulted in a lawsuit that split the company. Arnold remained at the Place Vendôme location, reorganized under the name Arnold Seligmann & Cie., while Jacques consolidated his operations and moved the headquarters for Jacques Seligmann & Cie. to the Hôtel de Sagan. Jacques also opened an additional gallery at 17 Place Vendôme to retain a presence near the company's original location, but this branch soon relocated to 9 Rue de la Paix. The New York office, which formerly had operated out of a single room, was upgraded to larger office space and a gallery at 705 Fifth Avenue.
Jacques's son, Germain Seligman (1893-1978), showed an interest in art connoisseurship from his early years and often accompanied his father to work in the galleries. (In 1943, when Germain Seligman became an American citizen, he dropped the second "n" from his surname, and for clarity his name appears with this spelling throughout this finding aid.) His father taught him how to deal with clients and often assigned him tasks to help in the completion of sales. Germain accompanied Jacques on many business trips and in 1910 was sent to St. Peterburg, Russia, to secure information about the selling price of the Swenigorodskoi enamels owned by the Russian collector M. P. Botkine.
Germain continued to work informally in the firm's galleries until the outbreak of World War I. Within hours of the mobilization order in 1914, Germain joined the French army as a second lieutenant in the 132nd Infantry Regiment of Rheims. By 1916 he was promoted to first lieutenant in the Twenty-fourth Infantry Brigade and in the following year achieved the rank of captain in the Fifty-sixth Infantry Division. Also in the same year, he was assigned as the first French liaison officer to the First Division of the American Expeditionary Force in France, serving as translator for Major George C. Marshall. Seligman was discharged from the French army in 1919 and was awarded the French Croix de Guerre with six citations. (In 1938 Seligman also was awarded the Office of the Legion of Honor from France, and in 1939 he was decorated by General John Joseph Pershing with the Distinguished Service Medal of the United States, in recognition for his service during World War I.)
After his discharge from military service, Germain Seligman actively joined his father's company as a partner in 1920. Jacques Seligmann & Cie. was changed to Jacques Seligmann et Fils, and Germain was placed in charge as the president of the New York office. The strong American art market necessitated Germain's making numerous cross-Atlantic trips each year. Upon the death of his father in 1923, Germain took over as president of both the Paris and New York offices, and the company was once again renamed Jacques Seligmann & Cie.
In the early years of Jacques Seligmann & Co., Inc., the firm carried few paintings, as collectors focused their interest mostly on small objects, enamels, ivories, and other decorative pieces from the Byzantine to the Renaissance eras. Stone and bronze sculptures, medieval and Renaissance tapestries, and eighteenth-century French furniture were the most avidly collected pieces of the era. The galleries of Jacques Seligmann & Co., Inc., reflected its clients' tastes, but soon after the turn of the century art trends began to change.
The 1913 Armory Show introduced many Americans to contemporary European art, and collectors in the United States began to show marked interest in it. The advent of World War I brought much of the art market to a standstill in Europe, but interest in the Impressionists continued in the United States, and it quickly resumed in Europe, as well, after the war. Both collectors and dealers began buying modern art, led by such progressive American collectors as Walter Arensberg, Albert C. Barnes, A. E. Gallatin, Mrs. Horace O. Havemeyer, Mrs. Potter Palmer, Duncan Phillips, and John Quinn, among others.
Under Germain's leadership, Jacques Seligmann & Co., Inc., began acquiring works by Pierre Bonnard, Paul Cézanne, Honoré Daumier, Edgar Degas, Pablo Picasso, Henri Rousseau, and Vincent van Gogh. While Germain promoted this trend for modern art in the New York gallery, other family partners did not approve as this was a new direction for the firm. For this reason Germain Seligman looked to establish a new, independent business venture in the evolving field of modern art. He selected as his partner César Mange de Hauke.
César Mange de Hauke was born on March 8, 1900, the son of a French engineer and a Polish mother. After completing academic and art studies in England and France in the years following World War I, de Hauke arrived in the United States in 1926. While in New York City, he was introduced to Germain Seligman by Germain's cousin, René Seligmann, and by 1927 de Hauke had joined Jacques Seligmann & Co., Inc., as a sales representative.
With their shared interest in modern French painting, Seligman and de Hauke decided to explore the feasibility of sales in this area by forming a subsidiary to Jacques Seligmann & Co., Inc., that would specialize in contemporary European artists. In 1926 Seligman personally financed the fledgling company, first called International Contemporary Art Company, Inc., and he appointed de Hauke its director, but even before the legal documents setting up the company were completed the name was changed to de Hauke & Co., Inc. Although the bulk of the new company's art purchases took place in Paris and London, the majority of its sales occurred in the United States.
Seligman and de Hauke worked out an agreement allowing de Hauke to purchase works of art that could then be sold as stock inventory of Jacques Seligmann & Co., Inc., or privately under de Hauke's own name. Ownership of paintings was often shared among various art dealers, involving complicated commission transactions upon completion of sale. Seligman provided display space for de Hauke & Co., Inc., at the new, larger gallery of Jacques Seligmann & Co., Inc., now located at 3 East Fifty-first Street. The two businesses were deeply intertwined, as evidenced by the facts that Seligman's financial records include a great deal of de Hauke material and many of de Hauke's records are written on the stationery of Jacques Seligmann Co., Inc.
During the second half of the 1920s, de Hauke showed the work of modern French School artists in New York City. He exhibited works by Pierre Bonnard, Amedeo Modigliani, Odilon Redon, Ker-Xavier Roussel, Edouard Vuillard, and many others. De Hauke was equally interested in French School drawings and watercolors, and the scope of his exhibitions also included works by nineteenth-century masters such as Paul Cézanne, Jacques-Louis David, Eugè00E8;ne Delacroix, Jean Ingres, Pierre-Auguste Renoir, and Georges Seurat.
Among the exhibitions held at the New York gallery were two highly successful shows featuring the works of Pablo Picasso. The first one, held in 1936, displayed paintings from the Blue and Rose Periods and was soon followed by the 1937 exhibition, Twenty Years in the Evolution of Picasso. The star of this exhibition was Les Demoiselles d'Avignon which Germain had recently acquired from the Jacques Doucet Estate sale.
Despite the bleak economic conditions of the 1930s, the new business venture proved so successful that the other family members of Jacques Seligmann & Co., Inc., withdrew their opposition to expanding into the field of modern art, and de Hauke & Co., Inc., was dissolved and re-formed under the new name, Modern Paintings, Inc. César M. de Hauke was appointed its director, but tensions had crept into the relationship between the former partners, and by 1931, de Hauke had resigned and returned to Paris.
The mid-1930s appear to have been a period of reorganization for the company. By 1934 Modern Paintings, Inc., was also dissolved, and it assets were assumed by Jacques Seligmann & Co., Inc., and by Tessa Corp., another subsidiary of the firm. In 1935, however, the firm established a new subsidiary, the Contemporary American Department, to represent young American artists. Theresa D. Parker, a longtime gallery employee, was selected to head the department, and she initiated an exhibition and loan program. Soon thereafter, the City of Paris offered to buy the company's building at the Hôtel de Sagan as part of a complicated negotiation for a site for the Exposition Internationale des Arts et Techniques dans la vie Modern 1937. The Paris office of Jacques Seligmann & Co., Inc., reestablished itself at 9 Rue de la Paix, but Germain selected the New York office as the headquarters for Jacques Seligmann & Co., Inc. Subsequently he filed his legal residence as New York City. Germain's half-brother, François-Gerard, was left in charge of the Paris office operations, although Germain continued to commute between the two offices until the summer of 1939.
During the New York World's Fair of 1939, Germain served as a member of the Exhibition Committee, which coordinated the art section. When the fair was extended for an additional year, Seligman was asked to take responsibility for planning the French art section. World political events intruded, however, and rumors of impending war affected both the European and American economies as well as the international art world. Speculative sales, particularly in Europe, made for a chaotic and unpredictable market. In June 1940 German forces invaded France and occupied Paris. Business for Jacques Seligmann & Co., Inc., took a dramatic downturn. In the summer of 1940 the Seligmann galleries and family holdings were seized by the Vichy government, along with Germain's private art collection. The family house and its contents, along with almost the entire stock of the Paris firm, was sold at public auction. Jacques Seligmann & Co., Inc., staff burned the Paris office archives in an effort to keep the records relating to works of art from falling into the hands of the Nazi occupiers, who were looting and shipping art to Germany.
Family members also experienced the pains and changes brought on by the war. Jean Seligmann, a cousin of Germain and the head of Arnold Seligmann & Cie., was captured and shot in Vincennes, France. François-Gerard, a half-brother, was drafted into the army and subsequently joined the French Resistance. Another brother, André, fled France in September 1940 and arrived in New York City, where he opened his own gallery. (He would later return to Paris after the war, but died shortly thereafter from a heart attack.)
Germain applied for a commission in the United States Army in 1942, but his application was initially turned down due to his noncitizen status. Soon thereafter, however, President Franklin D. Roosevelt signed the second War Power Act, which stipulated that naturalization could be expedited if the individual served in the military during the war. This act prompted Germain to further press his application for a post overseas, citing his citizenship status as fairly inconsequential or at least no longer a grave hindrance. Despite numerous letters exchanged with the War Department, however, his application was eventually rejected due to changes in military personnel policy.
During the war years, the Seligmann company in New York moved from its 3 East Fifty-first Street location to smaller quarters at 5 East Fifty-seventh Street. The first exhibition in this space was held in the spring of 1944. By 1945 the Contemporary American Department was reactivated, with Theresa D. Parker as its head.
In the years following the war, a rapprochement occurred among the family members who had been split since the family quarrel between Jacques and Arnold Seligmann. With the death of Jean Seligmann during the war, Arnold Seligmann & Co. had been left without a director. Germain consolidated the two family businesses, but made separate financial and administrative entities of the Paris and New York offices. Henceforth they were affiliated "only by ties of affection."
During the early to mid-1950s, many of the activities involving Jacques Seligmann & Co., Inc., centered upon the recovery of looted artwork and property as well as resolving outstanding issues from the consolidation of the various family businesses. The firm was also involved in the sale of several significant collections.
In 1951 Germain was commissioned by the family of the Duc d'Arenberg to sell the family's collection of important illuminated manuscripts, engravings, and select paintings. Jan Vermeer's Portrait of a Young Girl was purchased for over a quarter million dollars.
Jacques Seligmann & Co., Inc., also handled the 1953 sale of works from the Prince of Liechtenstein's collection and negotiated the purchase of seven Italian marble sculptures that were eventually sold to the Samuel H. Kress Foundation in 1954. From the late 1950s up until the closing of the company in 1977-1978, the exhibitions mounted by the firm seem to indicate a gradual focus back toward drawings and more traditional art. Contemporary American artists continued to be shown as well, but the firm no longer maintained its leading edge in the art market.
Germain, who during the 1940s had written several works, among them a monograph on Roger de La Fresnaye in 1945 and The Drawings of Georges Seurat in 1947, devoted himself more and more to writing. In Oh! Fickle Taste; or, Objectivity in Art, published in 1952, Seligman addressed the importance of political and social climates in understanding the evolution of art collecting in the United States. He followed this book with the 1961 publication of Merchants of Art, 1880-1960: Eighty Years of Professional Collecting which memorialized his father and traced the history of Jacques Seligmann & Co., Inc. Germain's most significant work, Roger de La Fresnaye, with a Catalogue Raisonné (1969), was lauded by art critics and listed among the 1969 "Best Ten Books of the Year" by the New York Times.
With the death of Germain Seligman in 1978, the firm doors closed, leaving behind a legacy of collecting that helped to establish American collectors and museums in the forefront of the international art world. A survey of the major art museums and collections in the United States reveals the significant number of works that were acquired either by sales or through donation from Jacques Seligmann & Co., Inc. The influence the company wielded is also demonstrated through the network of relationships it built with collectors, art museums and institutions, and other dealers, such as Dr. Albert C. Barnes, Bernheim-Jeune, George Blumenthal, Sen. William A. Clark, the Detroit Institute of Arts, M. Knoedler & Co., Inc., the Metropolitan Museum of Art, the Museum of Modern Art in New York, the National Gallery of Art, Marjorie Merriweather Post, Henry Walters, and Wildenstein & Co., among others.
1858, September 18 -- Jacques Seligmann born in Frankfurt, Germany.
1874 -- Jacques Seligmann leaves Germany to work in Paris, France, as an assistant at Maître Paul Chevallier, a leading Paris auctioneer. Soon after he leaves to work for Charles Mannheim, an expert in medieval art.
1880 -- Jacques Seligmann opens his own shop at the Rue des Mathurins. An early client is Baron Edmond de Rothschild.
1893, February 25 -- Germain Seligman is born in Paris, France. His mother's maiden name is Blanche Falkenberg (d. 1902).
1900 -- Jacques Seligmann & Cie. is formed when Jacques's brothers, Arnold and Simon, join him as partners and the business moves to the Place Vendôme.
1904 -- The New York City office of Jacques Seligmann & Co., Inc., is established, with Eugene Glaenzer as the manager. Beginning in 1905, Seligmann begins yearly visits to the New York office.
1907 -- Jacques Seligmann is elected a Fellow for Life of the Metropolitan Museum of Art.
1909 -- Jacques Seligmann & Cie. acquires the Hôtel de Sagan on the Rue Saint Dominique. Jacques moves the headquarters for the company to this location and reserves its use for the most exclusive and important clients, but his brother Arnold continues to oversee the general operations of the company at the Place Vendôme.
1912 -- A lawsuit between Jacques Seligmann and his brother, Arnold, results in a split in the family company. Arnold remains at Place Vendôme under the name Arnold Seligmann & Cie. Jacques consolidates his activities at the Hôtel de Sagan. He also opens another gallery at 17 Place Vendôme, but this is soon moved to 9 Rue de la Paix.
1914 -- As a result of the split in the family business, a new office and gallery are opened at 705 Fifth Avenue, and Jacques Seligmann & Co., Inc., is incorporated within the State of New York.
1914-1919 -- Germain Seligmann serves in the French army as a second lieutenant in the 132nd Infantry Regiment of Rheims. Later he is assigned as the first French liaison officer to the First Division of the American Expeditionary Force in France. He is discharged from active service in 1919.
1920 -- Germain Seligman becomes a partner with his father and formally joins Jacques Seligmann & Fils as the president of the New York office.
1923, October -- Jacques Seligman dies.
1924 -- Germain Seligman becomes the president of both the Paris and New York offices. Several of his brothers and sisters become partners in the firm. Theresa D. Parker joins the New York office.
1926 -- The New York office moves to 3 East Fifty-first Street. Germain Seligman, with César Mange de Hauke, sets up de Hauke & Co., Inc., to sell modern European paintings to American clients.
1930 -- De Hauke & Co., Inc., becomes Modern Paintings, Inc.
1931 -- De Hauke resigns as head of Modern Paintings, Inc., and returns to Paris.
1934 -- Modern Paintings, Inc., is dissolved, and its assets are assumed by Jacques Seligmann & Co., Inc., and by Tessa Corp., another subsidiary of the parent company.
1935 -- The Contemporary American Department is created as a part of Jacques Seligmann & Co., Inc., and Theresa D. Parker directs its operations.
1936-1937 -- Jacques Seligmann et Fils moves out of its gallery space at the Hôtel de Sagan and briefly reestablishes its headquarters at 9 Rue de la Paix. By 1937, however, the company headquarters moves to New York City. Germain Seligman establishes his legal residence there.
1939 -- World War II begins.
1940 -- During the summer, the Seligmann family house and its contents (at Rue de Constantine) are seized and sold by order of the Vichy government, along with Germain's private art collection and the gallery's stock. The Paris archives of Jacques Seligmann & Co., Inc., is destroyed by the Seligmann staff in order to keep the records from falling into the hands of the Nazis. René Seligmann dies in a New York hospital in June; François-Gerard, Germain's half-brother, is called up to serve in the army and joins the French Resistance. Another brother, André, escapes to the United States and opens a gallery in New York. Jean Seligmann, a cousin of Germain and the head of Arnold Seligmann & Cie., is captured and shot at Vincennes, France.
1943 -- Germain Seligman becomes an American citizen (and drops the second "n" from his original surname).
1944, Spring -- The New York gallery holds its first exhibition in the new 5 East Fifty-seventh Street location in New York City. During the war years, the firm had moved from its Fifty-first Street location to smaller quarters.
1945 -- The Contemporary American Department is reactivated.
1946 -- After the war, Arnold Seligmann & Cie. is left without a director, although it remains at the Rue de la Paix location. Germain consolidates the two firms but organizes the Paris and New York offices as separate financial and administrative entities.
1969 -- Germain Seligman publishes Roger de La Fresnaye, with a Catalogue Raisonné. The book receives acclaim and is listed on the 1969 New York Times "Ten Best Books of the Year."
1978, March 27 -- Germain Seligman dies.
Provenance:
The records of the Paris and New York art dealer Jacques Seligmann & Co., Inc., were donated to the Archives of American Art in 1978 by Mrs. Ethlyne Seligman, widow of Germain Seligman. A small addition of 19 linear feet was donated in 1994.
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.
Art galleries, Commercial -- France -- Paris Search this
Genre/Form:
Gallery records
Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
William H. Holston Gallery (New York, N.Y.) Search this
Extent:
100 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1915-1964
Scope and Contents:
Correspondence, notebooks, recollections, photographs, and clippings.
Biographical / Historical:
Holston was an art dealer who acted as the American representative for the Paris art firm Durand-Ruel. He was instrumental in the selling of Impressionist paintings to such collectors as Duncan Phillips and Albert C. Barnes. Later, he opened the Holston Gallery at 19 East 57th Street in New York City.
Provenance:
Lent for microfilming 1964 by William Holston's widow.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs. Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Photographs are of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Scope and Content Note:
The papers of illustrator, writer and collector Ilse Martha Bischoff measure 1.2 linear feet and date from 1893-1981. Found are scattered personal and business records, correspondence, pencil and watercolor sketches, notes and writings, printed material and photographs.
Correspondence is primarily with family members and colleagues including Paul Cadmus and Jared French. Artwork includes pencil and watercolor sketches, and notes and writings consist primarily of typescripts of Bischoff's short stories. Printed material includes clippings, exhibition announcements and catalogs, and miscellaneous printed material relating to Bischoff's European travel. Of special interest are photographs of Bischoff, her family, and colleagues including Paul Cadmus and Jared French.
Arrangement:
The collection is arranged as 6 series:
Series 1: Personal Records, 1934-1938, 1955-1968 (Box 1; 3 folders)
Series 2: Correspondence, 1922-1981 (Box 1; 47 folders)
Series 3: Artwork, circa 1920-circa 1959 (Box 1; 1 folder)
Series 4: Notes and Writings, 1929-1975 (Box 1; 33 folders)
Series 5: Printed Material, 1929-1976 (Box 1; 15 folders)
Series 6: Photographs, 1893-1971 (Box 2; 20 folders)
Biographical Note:
Ilse Martha Bischoff was born on November 21, 1901 in New York City, to Adele Maria Timme Bischoff and Ernst Bischoff, founder of the Ernst Bischoff (pharmaceuticals) Company of Ivoryton, Connecticut.
Bischoff began her education at the Horace Mann School, later studying costume design at the Parson's School of Design. At the Art Students League, she studied painting under Frank Du Mond and etching with Joseph Pennell. While at the Art Students League, Bischoff befriended painters Paul Cadmus and Jared French. She also studied art in Paris, France, and Munich, Germany.
From 1928 to 1946, Bischoff illustrated 12 books and wrote two novels about George Washington's Portraitist, Gilbert Stuart: Painter's Coach in 1943, and Proud Heritage in 1949. Her autobiography, Drive Slowly: Six Dogs, was published in 1953. She was also an avid collector of Meissen porcelain.
Bishoff's artwork is represented in the collections of the Metropolitan Museum of Art, the New York Public Library, the Museum of Fine Arts in Boston and the Hood Museum at Dartmouth.
Ilse Martha Bischoff died December 5, 1990, in Hartland, Vermont.
Provenance:
The Ilse Martha Bischoff papers were donated in 1980-1981 by the artist.
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.
The papers of art patron Harriet Collins Allen measure 0.2 linear feet and date from 1897-1925. Found within the papers are letters primarily written by Solon Borglum and his wife, Emma, to Harriet Collins Allen. The letters were written from Omaha, London, Paris, and New York and provide a cursory overview of some of the events in Borglum's career and insights into his relationship with his older brother sculptor Gutzon Borglum. Borglum writes about meeting and working with other sculptors in Paris and New York and his wife writes about conflicts between the two brothers and exhibitions of Solon's work. Also found within the papers are clippings, a brochure for Borglum's book A Comparative Analysis of Natural Forms and Their Relation to the Human Figure, and photographs of Borglum in his studio and of his works.
Scope and Content Note:
The papers of art patron Harriet Collins Allen measure 0.2 linear feet and date from 1897-1925. Found within the papers are letters primarily written by Solon Borglum and his wife, Emma to Harriet Collins Allen. The letters were written from Omaha, London, Paris, and New York and provide a cursory overview of some of the events in Borglum's career and insights into his relationship with his older brother sculptor Gutzon Borglum. Borglum writes about meeting and working with other sculptors in Paris and New York and his wife writes about conflicts between the two brothers and exhibitions of Solon's work. Also found within the papers are clippings, a brochure for Borglum's book A Comparative Analysis of Natural Forms and Their Relation to the Human Figure, and photographs of Borglum in his studio and of his works.
Arrangement:
The collection is arranged as 3 chronological series:
Series 1: Letters, 1897-1925 (Box 1; 19 folders)
Series 2: Printed Material, 1898-1907, undated (Box 1; 1 folder)
Series 3: Photographs, undated (Box 1; 3 folders)
Biographical Note:
Harriet Collins Allen and her husband, Dr. Samuel Allen, befriended sculptor Solon Borglum while he was studying at the Cincinnati Art Academy in the mid-1890s.
Solon Hannibal Borglum was born December 22, 1868 in Ogden, Utah. He was the younger brother of noted sculptor Gutzon Borglum. Both brothers spent their early lives on a ranch near Omaha, Nebraska. From 1883 to 1884, Solon and Gutzon traveled to California where Gutzon studied art and both earned a living at ranching. After spending a short time at his brother's studio in Sierra Madre, and living as an artist in Santa Ana, Solon enrolled at the Cincinnati Art Academy, where he studied from 1895 to 1897 as a student of Louis Rebisso.
Solon traveled to Paris and met sculptor Augustus Saint-Gaudens who persuaded him to study at the Académie Julian. There he studied under Denys Puech and began winning awards for work exhibited in both France and the United States. In 1898, Solon married Emma Vignal in Paris. They spent four years living at the Crow Creek Reservation in South Dakota, an experience that influenced his art work. In 1901, Solon was elected to the National Sculpture Society, later becoming vice-president. He set up a studio in New York.
Borglum displayed several works at the Louisiana Purchase Exposition, the Lewis and Clark Exposition in Portland, Oregon, and at the Panama-Pacific Exposition in San Francisco. Among his most noted commissions was the "Rough Rider Monument" commemorating Captain William Owen "Buckey" O'Neill in Prescott, Arizona. In 1906, Borglum moved to Silvermine, Connecticut, where his studio became the center of a colony called the Silvermine Group of Artists. It was also during this time that Paul Manship was employed as one of Borglum's assistants and lived with the family.
From 1916 to 1917 Solon taught at the Beaux-Arts Institute of Design in New York and worked on an art textbook. During World War I, he served as the Director of Sculpture for the American Expeditionary Forces Art Training Center. Following the war, Borglum returned to New York City and established a School of American Sculpture in New York City.
Solon Hannibal Borglum died suddenly after an appendectomy in January 1922 in New York City.
Related Material:
The Archives holds several additional collections relating to Solon Borglum, including a loan of Gutzon Borglum papers microfilmed on reel 3056 (originals housed at the San Antonio Museum of Art) and the Solon H. Borglum and Borglum Family papers. The Library of Congress holds additional papers of Solon H. Borglum and is the primary repository of Gutzon Borglum's papers.
Provenance:
The Harriet Collins Allen papers relating to Solon Borglum were donated in 1989 by Joan Parsons Wang, granddaughter of Harriet Collins Allen.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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.
Vereshchagin, Vasili Vasilevich, 1842-1904 Search this
Extent:
3.6 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1880-1936
bulk 1883-1920
Summary:
The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.
Scope and Content Note:
The scrapbooks of Thomas Benedict Clarke measure 3.6 linear feet and date from 1879-1930. Twelve scrapbooks contain mostly newspaper clippings, but also include correspondence, invitations, exhibition catalogs, programs, magazine articles, art auction catalogs, and other material relating to Clarke's personal art collection and general art patronage. The scrapbooks also include clippings and miscellany relating to the Clarke family and influential society clubs, such as the Union League, Lambs, and New York Athletic clubs.
Scrapbook 1 dates from 1880-1884 and includes information about the Lincoln Club, the Century Association, Motto Club, Rembrandt Club, Merchants Club, Art Club, and Union League Club. Scrapbook 2 dates from 1883-1884 and includes an index of artists in the Clarke art colletion, as well as information about the artists. Scrapbook 3 dates from 1887-1889 and includes information about artists Vasily Vereshchagin and Antoine Louis-Barye. Scrapbook 5 dates from 1891-1894 and contains clippings about the Clarke Prize, the opening of Clarke's "Art House" in Manhattan, New York, the 1891 Clarke exhibition at the Pennsylvania Academy of Fine Arts, the 1892 Columbian Loan Exhibition, and the 1893 Worlds' Columbian Exhibition. Scrapbook 6 dates from 1891-1902 and includes clippings regarding the art and auction sales of Greek, Continental, Persian, and Oriental antiquities, rugs, and porcelains. Scrapbook 7 dates from 1894-1898 and covers Clarke's support of Justice Frederick Smyth, his parents' 50th anniversary celebration, his daughter's society introduction reception, and events at the Lambs and Union League Clubs. Scrapbook 8 dates from 1894-1920 and houses announcements of the George Inness memorial exhibition, coverage of the Inness 1895 estate auction sale, copies of correspondence between Inness and Clarke, and two original photographs of Inness' studio. Scrapbook 9 is dated 1899-1900 and includes coverage of events at clubs, particularly the Lambs and Union League clubs, the Clarke Prize, Paris Exposition, Dewey Arch, and the private art collection of William T. Evans. Scrapbook 10 dates from 1899-1936 and consists primarily of coverage of the 1899 Clarke art auction to fund the National Academy of Design's Clarke prize. Scrapbook 11 dates from 1900-1902 and covers Clarke's Hampton cottage, his daughter's marriage and divorce suit, the New York School of Design for Women, and the Academy of Design annual exhibition. Scrapbook 12 is dated from 1899-1918 contains clippings regarding William Tilden Evans, a contemporary art collector and friend of Clarke's.
A 670 page annotated index of Books 1-6 and Books 10-12 is available on microfilm reels N598-N599.
Arrangement:
The collection is arranged into 1 series:
Series 1: Scrapbooks, 1880-1936 (Boxes 1-2, 4 BVs; 2.6 linear feet)
Biographical Note:
Thomas Benedict Clarke (1848-1931) was a prominent New York businessman and one of the first major collectors of contemporary American paintings in the 1870s-1880s. He purchased his first painting in 1872 and eventually amassed one of the largest private collections of American art at the turn of the century.
After retiring from the business world, Clarke served as President of the New York School of Applied Design for Women, Treasurer of the National Society of Arts, and Chairman of the House Committee of the Union League Club. He was a founding member of the National Sculpture Society and National Arts Club, and founded the Clarke Prize of the National Academy of Design in 1883. He was also a member of several New York gentlemen's clubs, including the Century, Lotos, Lamb, and Manhattan Clubs.
In 1890, Clarke announced he would no longer officially acquire or deal in works of art, except as an agent for his friend, George Inness. Concentrating his attentions on a new venture, in 1891, he opened "Art House" off of Fifth Avenue in New York City, a showcase for English furniture, Oriental porcelains, and Continental antiquities. In 1899, he announced he would be putting his collection of 375 American paintings up for sale during a landmark, week-long auction at the American Art Association. Included in the sale were 32 works by George Inness and 30 works by Winslow Homer.
In 1912, Clarke returned to active art collecting, this time focusing his energies on building a collection of Colonial American art.
Related Material:
The Archives also has the Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897, which have been digitized and are available online via the Archives of American Art's website.
Also found in the Archives are Letters to Thomas B. Clarke from artists, 1883-1918 and the handwritten catalog Private art collection of Thomas B. Clarke, 1872-1879, both of which have been microfilmed and are available on reels D5 and 2802.
Provenance:
The scrapbooks of Thomas Benedict Clarke were donated by the Whitney Museum of Art director, Lloyd Goodrich, in 1978.
Restrictions:
Use of originals requires an appointment. Patrons must use microfilm copy due to fragility of the original scrapbooks.
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:
Collectors and collecting -- New York (State) -- New York Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Thomas Benedict Clarke scrapbooks, 1880-1936, bulk 1883-1920. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
