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San Francisco Women Artists records

Creator:
San Francisco Women Artists  Search this
Names:
San Francisco Art Institute  Search this
Labaudt, Marcelle, 1892-1987  Search this
Whitney, Susan A.  Search this
Windslade, Dorothy  Search this
Extent:
15.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Motion pictures (visual works)
Scrapbooks
Photograph albums
Date:
1925-1999
Summary:
The San Francisco Women Artists records measure 15.5 linear feet, date from 1925 to 1999, and include administrative records, correspondence, membership files, exhibition files, inventory records, printed material, twenty scrapbooks, photographs, eight photograph albums, and two motion picture film reels.
Scope and Contents:
The San Francisco Women Artists records measure 15.5 linear feet and date from 1925 to 1999. The activities of the SFWA are documented through administrative records, correspondence, membership files, exhibition files, inventory records, printed material, twenty scrapbooks, photographs, eight photograph albums, and two motion picture film reels.

Administrative records include daily journals and publicity materials, historical materials and founding documents, meeting minutes and agendas, artist council and committee meetings, and member and patron surveys. Also found within administrative records are materials on Marcelle Labaudt, SFWA Executive Secretary then Executive Director for many years, including original film footage and sound recordings for a career retrospective film project. Correspondence is with potential donors and patrons, board members, members, and artists. Membership files contain ledgers of paid memberships, lists of dropped members, membership applications and rosters, membership biographies, renewals and statistics, and membership directories.

Exhibition files contain price lists and display placards, slides and photographs, and printed materials relating to shows and exhibitions presented by various SFWA members and cooperating organizations, including the San Francisco Art Institute. Shows include "Celebration of International Women" (1991), "The Paintings of Dorothy Windslade" (1994), annual juried SFWA shows and emerging artists exhibitions (1947-circa 1994), "Art of Susan A. Whitney Exhibit and Silent Auction" (1997), and "Hands and Heart, the Art of Healing" (1997), among others.

Inventory records contain artist inventory cards noting various artwork and exhibitions. Printed material includes books, SFWA bulletins, SFWA calendars, clippings, and exhibition printed materials, such as announcements, brochures, and catalogs. Twenty scrapbooks document the SFWA through clippings, exhibition documentation, photographs, biographies, and annotations. Eight photograph albums depict exhibitions and shows, artwork and artists. Also found within photographs are slides, negatives, and loose photographs depicting works of art, gallery and receptions, and meetings.
Arrangement:
This collection is arranged as 8 series:

Series 1: Administrative Records, 1925-circa 1998 (6.5 linear feet; Boxes 1-6, FC 17-18)

Series 2: Correspondence, 1931-1998 (0.7 linear feet; Boxes 6-7)

Series 3: Membership Files, 1925-circa 1998 (1.5 linear feet; Boxes 7-8)

Series 4: Exhibition Files, 1947-circa 1998 (0.7 linear feet; Boxes 8-9)

Series 5: Inventory Records, circa 1974-circa 1985 (0.4 linear feet; Boxes 9-10)

Series 6: Printed Material, 1926-1999 (1.5 linear feet; Boxes 10-11, 16)

Series 7: Scrapbooks, 1925-circa 1990s (2.7 linear feet; Boxes 11-13, 15)

Series 8: Photographs 1970-circa 1990s (1.5 linear feet; Boxes 13-14, 16)
Biographical / Historical:
San Francisco Women Artists (SFWA) is one of California's oldest arts organizations, dating its founding to 1887 as the Sketch Club. At that time, members met monthly to share and critique one another's work and to travel together on sketching trips. After the great earthquake in 1906 destroyed the club's headquarters, the group floundered and reorganized and merged with other organizations that also included men. By 1925, however, a core group of women broke away and formed the San Francisco Society of Women Artists. The SFWA's founding mission was "... the study and furtherance of all interests common to the arts both graphic and plastic … and to support causes neglected by other art organizations in the Bay Area." Early members include Alice B. Chittenden, Helen Hyde, Matilda Lotz, Clara Taggart McChesney, M. Evelyn McCormick, Dora Williams, and Eva Almond Withrow. Other members included Marcelle Labaudt, Dorr Bothwell, Claire Falkenstein, Ruth Asawa, Nell Sinton, Imogen Cunningham, Eleanor Dickenson, Jo Hansen, Emmy Lou Packard, Eleanore Rappe, Ruth Armer, Barbara Spring, Beth Van Hoesen and Dorothy Winslade.

The Society held its first exhibition in 1926. In 1932, Frida Kahlo's painting, Frieda and Diego Rivera, was shown at the "Sixth Annual Exhibition of the San Francisco Society of Women Artists" and was the first public showing of Kahlo's work. In 1946 the organization shortened its name to the San Francisco Women Artists.

In 1976 the SFWA and exective director Marcelle Labaudt were commended in a Senate Resolution for "outstanding contributions to the cultural enhancement of the City of San Francisco." In 1983 the SFWA procured a gallery at 451 Hayes Street, which provided exhibition space for members, as well as an art rental program. In 1985 the gallery moved to 370 Hayes Street. The SFWA celebrated its centennial in 1994 with an exhibition including work of many past members.

This organization continues to host monthly themed juried shows and is dedicated to encouraging and promoting the work of women artists.
Provenance:
Pam Foley, president of the San Francisco Women Artists donated the records in 1999.
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 with no duplicate access copy requires advance notice.
Rights:
The San Francisco Women Artists records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Women artists -- California -- San Francisco  Search this
Topic:
Art -- Societies, etc. -- California -- San Francisco  Search this
Genre/Form:
Photographs
Sound recordings
Motion pictures (visual works)
Scrapbooks
Photograph albums
Identifier:
AAA.sanfrawa
See more items in:
San Francisco Women Artists records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-sanfrawa

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Exhibition record of the San Francisco Art Association, 1872-1915, Mechanics' Institute, 1857-1899, California State Agricultural Society, 1856-1902 / by Ellen Halteman

Author:
Halteman, Ellen 1947-  Search this
Subject:
San Francisco Art Association  Search this
Mechanics' Institute (San Francisco, Calif.)  Search this
California State Agricultural Society (Sacramento, Calif.)  Search this
Physical description:
1 v. (various pagings) ; 28 cm
Type:
Indexes
Place:
California, Northern
Date:
2000
19th century
20th century
Topic:
Art, American--Exhibitions  Search this
Art--Societies, etc  Search this
Artists  Search this
Call number:
N6530.C2 H35 2000
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_608106

Ferdinand Perret Research Library : a collection of research material in the Library of the National Museum of American Art and the National Portrait Gallery, Smithsonian Institution [microform] / collected and compiled by Ferdinand Perret

Author:
Perret, Ferdinand 1888-1960  Search this
Library of the National Museum of American Art and the National Portrait Gallery  Search this
National Museum of American Art (U.S.)  Search this
National Portrait Gallery (Smithsonian Institution)  Search this
Physical description:
35 microfilm reels : ill. ; 35 mm
Type:
Microforms
Place:
California
Date:
1987
Topic:
Artists  Search this
Art  Search this
Missions  Search this
Art--Societies, etc  Search this
History  Search this
Sources  Search this
Call number:
mfm 1117
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_325440

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