An interview of wife and husband Dale and Doug Anderson conducted 2005 July 21-22, by Tina Oldknow, for the Archives of American Art, in their home.
The Andersons discuss their respective childhoods and growing up in Manhattan; their education and early experiences with art; their early collection of Native American art; their first art purchases, including a Richard Marquis Patchwork teapot, a Lowell Nesbitt painting, and a Carolyn Brady painting; their initial involvement with the American Craft Museum's Collector's Circle, as well as other craft organizations including Creative Glass Center of America, Millville, New Jersey, The Metropolitan Glass Group, Art Alliance for Contemporary Glass, and the Friends of Contemporary Ceramics, among others; their involvement with, and support of, various museums, including the Racine Art Museum, Racine, Wisconsin, the Metropolitan Museum of Art, New York, New York, the Boston Museum of Fine Arts, Boston, Massachusetts, the Seattle Art Museum, the Norton Museum of Art, West Palm Beach, Florida, and the Corning Museum of Glass, Corning, New York; their involvement with, and support of, various art schools, including the Pilchuck Glass School, Stanwood, Washington, the Watershed Center for the Ceramic Arts, Newcastle, Maine, and Haystack Mountain School of Crafts, Deer Isle, Maine; their independent commissioning of works by various artists, including Dale Chihuly, Ginny Ruffner, Sandy Skoglund, Tom Patti, Paul Marioni and Ann Troutner, and Silas Kopf; their involvement in various large-scale glass exhibitions and expositions, including the annual Sculptural Objects and Functional Art expositions, "Glass Today by American Studio Artists," August 13, 1997-January 11, 1998, at the Boston Museum of Fine Arts, and palmbeach3, West Palm Beach, Florida, among others; their participation in, and support of, the publishing of various books on glass, including Martha Drexler Lynn's "Sculpture, Glass, and American Museums," Philadelphia: University of Pennsylvania Press, 2005, and Tina Oldknow's "Pilchuck: A Glass School", Seattle: Pilchuck Glass School, in association with the University of Washington Press, 1996; their dealings with various galleries across the country, including Habatat Galleries, Royal Oak, Michigan, Heller Gallery, New York, New York, UrbanGlass, Brooklyn, New York, Barry Friedman Ltd., New York, New York, browngrotta arts, Wilton, Connecticut, and Ferrin Gallery, Lenox, Massachusetts, among others.
The Andersons recall Christina Orr-Cahall, George and Dorothy Saxe, Ronald and Anita Wornick, Susan Steinhauser and Dan Greenberg, Jack and Rebecca Benaroya, Weston Naef, Daphne Farago, Dale Chihuly, Thomas and Marilyn Patti, Catherine Chalmers, Jeremy Flick, Zhuan Huang, William Warmus, Akio Takamori, Linda Schlenger, Bruce Pepich and Lisa Englander, Pike Powers, Parks Anderson, Sonny and Gloria Kamm, Flora Mace and Joey Kirkpatrick, Davira Taragin, Bill Morris, Sam and Eleanor Rosenfeld, Daganeet Schokauer, Albert Paley, John McQueen, Jeff Mermelstein, Jane Adlin, Henrietta Brunner, Mark Lyman, Charles and Andrea Bronfman, Norman and Elizabeth Sandler, Ferdinand Hampson, Dafna Kaffeman, Paul Stankard, Toots Zynsky, Marjorie Levy, Gregory Grenon, and others.
Biographical / Historical:
Dale (1944- ) and Doug (1943- ) Anderson are glass collectors from New York, New York Tina Oldknow is a curator at the Corning Museum of Glass, Corning, New York.
Originally recorded on 7 sound discs. Reformatted in 2010 as 19 digital wav files. Duration is 7 hrs., 6 minutes.
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
The Historical Records of the Barnett-Aden Gallery showcases one of the first galleries owned and operated by African Americans. The work of the Gallery was invaluable as they opened the exhibition space to established and unknown artists regardless of race or gender.
Scope and Contents:
The Historical Records of Barnett-Aden Gallery collection includes historical background materials on the gallery, its founders James V. Herring and Alonzo Aden as well as Adolphus Ealey, its steward after its closure in 1969. The materials include correspondence, business records, photographs, exhibition catalogues, and clippings.
The materials in this collection have been kept at the folder level and separated into four series. The materials have been ordered and organized based on the content. Within each series and subseries, the folders are organized as close to the collection's original order as when it was acquired.
The Barnett-Aden Gallery, suggested to be the first African American privately-owned gallery in the U.S, open its doors on October 16, 1943. The gallery was founded by artist and scholar James V. Herring alongside his protegee, curator Alonzo Aden. The gallery was housed in a private home that they shared, located on 127 Randolph Street NW in Washington, DC. These men aimed to create an art gallery that provided a venue for underrepresented artists of all races and genres. It was this partnership that laid the foundation for the shift in African American representation in modern art. Aden stated that the gallery's aims were to help foster new talent while also bringing "art of superior quality" to the community. Throughout its history, the gallery held almost 200 exhibitions and showcased the work of over 400 artists.
James Vernon Herring was born on January 7, 1887 in Clio, South Carolina to an African American mother, Alice Herring (1860-1942), and white father, William Culbreth. As a young man, he moved to Washington, DC for better educational opportunities. Herring was educated at the Howard Academy, a preparatory high school located at nearby Howard University campus. Herring received his undergraduate degree from Syracuse University and completed graduate studies at Columbia and Harvard Universities. Trained in art and classical studies with a focus on French impressionism, Herring was initially brought on Howard University's faculty as architecture instructor in 1920. This experience inspired Herring to create the Department of Art at the university where he convinced former home economics student and future prominent visual artist, Alma Thomas to be the art school's first graduate in 1924. Herring continued to mentor and discover young artists as was the case with Alonzo Aden.
Alonzo Aden was born on May 6, 1906 in Spartanburg, South Carolina to Naomi Barnett (1883-1956) and Ephraim Aden (1859-1917). His working-class parents wanting more for their eldest son, decided to send him to live with relatives in Washington, DC for greater educational opportunities. Aden did well academically and completed some studies at Hampton Institute (now Hampton University) before finally entering Howard University in 1927. The following year, Herring opened the Howard University Gallery of Art and installed Aden as its first curator. Aden initially pursued a career as an educator but became more interested in art history and after his graduation from Howard in 1933, he pursued studies in museum and curatorial work.
Recent scholarship has suggested that Herring and Aden were in a romantic as well as working relationship. Working together in the Howard Gallery of Art, they sought to provide a space for art students, local artists and other relatively unknown artists from around the world. Living together since 1929, Herring supported Aden's post-graduate pursuits including his studies of African arts and crafts in galleries across Europe as well as his curatorial work at the American Negro Exposition in Chicago in 1940. Aden returned to Washington to great acclaim and continued his work with Herring at the Howard Gallery of Art.
The Gallery was housed in a Victorian townhouse located in the then middle-class African American neighborhoods of LeDroit Park and Logan Circle (present-day Bloomingdale). Research notes that the house was purchased during the late 1920s by Herring with some assistance of artist Alma Thomas (or vice versa). Both were listed as owners of the property until 1933 when Aden was listed as the co-owner. In 1943, Aden resigned as head of the Howard Gallery for unknown reasons which led Herring and Aden to open a gallery in their home. The gallery was named after Aden's mother Naomi, who also served as an early benefactor of the gallery giving $1,000 in support. It was the support of various benefactors alongside Herring's salary as a Howard professor and Aden's several "government jobs" that kept the gallery afloat during its time in the home. The first floor of the gallery consisted entirely of exhibition space with the second-floor space interchanged between exhibition, study, and living spaces over the years. Herring's library, also located on the upper floors, was used for research by students and local scholars. Herring and Aden never saw the gallery as a truly profitable venture but instead wanted to offer avenues for the artists to showcase their work. As policy, each artist retained all money earned from sales but were required to donate at least one work of art to the Barnett-Aden collection.
The gallery, the first of its kind in Washington at the time, exhibited works of artists regardless of race; African American artists displayed alongside their more notable white peers. Notable artists featured in the gallery include Henri Matisse, Paul Cezanne, Pablo Picasso, Marc Chagall, and M.C. Escher were exhibited alongside notable African American artists Richmond Barthé, Romare Bearden, Elizabeth Catlett, Charles White, Selma Burke as well as many others. Several Howard professors who went on to have notable art careers also exhibited their work at the gallery including James Porter, Lois Mailou Jones, and James Lesesne Wells. Many of the artists featured in the gallery were also greatly involved in the operations. Alma Thomas served gallery's vice president before she began exhibiting her work there in 1950s. Artist and scholar, David Driskell served as the associate director of the gallery after Aden's death.
The gallery held five to eight exhibitions every year including a special annual anniversary exhibition. In 1944, the gallery opened a show featuring Brazilian modern artist, Candido Portinari, who had previously completed a mural at the Library of Congress, that sparked great interest at the gallery. The exhibition opening brought in visitors from all over Washington including members of the president's cabinet, foreign ambassadors and First Lady Eleanor Roosevelt. This renewed interest created a somewhat hectic pace in keeping up with the work of the gallery. This pace coupled with the full-time jobs and other ventures including a gift shop enabled the gallery to act as a luminary of the African American and local arts community in Washington.
In 1961, while preparing for the annual anniversary exhibition, Alonzo Aden died suddenly. Herring with aid of his friends and students took on the management of the gallery after his partner's death but was unable to keep the pace of Aden's work and the attendance declined. In 1969, Herring died in the home leaving behind a formidable legacy. The home and its contents including the gallery's art collection was sold in order to settle the debts of Herring's estate. The collection was divided amongst three individuals. Artist and former Herring student, Adolphus Ealey inherited the bulk of the collection that featured 250 significant works. Herring's books, graphic drawings, and prints were given to Herring associate and friend, Dr. Felton J. Earls, while the sculptures went to art collectors and friends Dr. and Mrs. Cecil Marquez.
The portion of the collection owned by Ealey was described as the preeminent selection from the gallery's collection. The size and ongoing upkeep of the collection was significant which caused the collection to be moved several times over the years. The collection which out of necessity was originally stored in Ealey's Southwest Washington apartment then moved a to a house in LeDroit Park and then to another space in the Washington neighborhood of Fort Lincoln. Ealey collaborated with colleagues and institutions to have it exhibited in various locations but also bid to find the collection a permanent home. During the 1970s, the collection was featured at the Museum of Afro-American Culture and History in Philadelphia, the Anacostia Neighborhood Museum (now the Smithsonian Anacostia Community Museum) and the Corcoran Gallery of Art.
Unable to find an institutional home for the collection, Ealey was forced to sell the collection in 1989 to the Florida Endowment Fund for Higher Education. Ealey stipulated that collection must remain intact but also that the new owners had to develop educational and outreach programs focused on African Americans in the arts. Failing to find consistent opportunities to exhibit the collection, the owners were forced to sell the collection. In 1998, Robert L. Johnson, then chairman and founder of the television channel, Black Entertainment Television (BET), purchased the collection. The collection went on a national tour then was displayed for some time at the BET headquarters in Washington. In 2015, Johnson donated selections from the gallery collection to the Smithsonian National Museum of African American History and Culture in an effort to preserve the legacy of the Barnett-Aden Gallery and the tireless work of James V. Herring and Alonzo Aden for generations to come.
1897 -- James Vernon Herring was born January 7 in Clio, South Carolina.
1906 -- Alonzo James Aden was born May 6 in Spartanburg, South Carolina.
1914-1916 -- While attending Syracuse University, Herring taught summer classes at Wilberforce University in Ohio for two summers.
1917 -- Herring graduated from Syracuse University with a Bachelors of Pedagogy in Art degree.
1917-1920 -- Herring served as YMCA secretary for the YMCA in Muscle Shoals, Alabama, and then Camp Lee, Virginia. Herring also held teaching positions at Straight College in New Orleans and Bennett College in North Carolina
1920 -- Alonzo was sent to Washington, D.C. to live with his uncle, James Aden, and his wife Laura.
1921 -- Herring was initially hired as architectural drawing instructor at Howard University and after negotiations established Department of Art later that same year.
1927 -- Herring organized an exhibition of Howard U. students' artwork that toured the Deep South U.S. Aden enrolled in Howard University in pursuit of an education degree.
1930 -- The Howard University Gallery of Art formally opened on April 7. Aden was hired as gallery assistant.
1933 -- Aden received his Bachelor of Arts in Education; Herring added Aden's name as co-owner of the 127 Randolph Place home.
1934-1939 -- Aden engaged in post-graduate study and museum curatorial work around the U.S. and Europe.
1940 -- Aden served as art curator for the American Negro Exposition (the "Negro's World Fair") in Chicago
1943 -- Aden resigned his position at the Howard University Gallery of Art for undisclosed reasons. The Barnett-Aden Gallery was founded by James V. Herring and Alonzo Aden. The first exhibition, "American Paintings for the Home" featured Elizabeth Catlett, Lois Mailou Jones, Malvin Gray Johnson, James Lesesne Wells, Jacob Lawrence, and many others.
1944 -- First anniversary exhibition featuring artist Candido Portinari, Brazilian artist who was already known in Washington from his mural for the Library of Congress. It was attended by the First Lady, Eleanor Roosevelt. Exhibition, "The Negro in Art" and "American Paintings for the Home" featuring Catlett, James A. Porter, Wells, Jones, Richmond Barthé, Hale Woodruff, Betsy Graves Reyneau and others.
1946 -- Exhibition, "Paintings by Lois Mailou Jones" and featured paintings of Jacob Lawrence for Third Anniversary exhibition.
1947 -- Fourth Anniversary Exhibition, "Recent Paintings by Charles White". Exhibition of Elizabeth Catlett, "Paintings, Sculpture, and Prints of The Negro Woman".
1948 -- Exhibition, "Paintings and Drawings by James A. Porter".
1949 -- Exhibition, "Sylvia Carewe".
1950 -- "Exhibition of Six Washington Artists" featuring Romare Bearden, Samuel Bookatz, Bernice Cross, Robert Gates, Norma Mazo, and James A. Porter. "Exhibition "Paintings and Prints by James Lesesne Wells."
1951 -- Exhibition, "Three Washington Artists" featuring Richard Dempsey, Sam Herman, and Jack Perlmutter Exhibition, "Herman Maril: Paintings in Retrospect, 1931-1951"
1953 -- Tenth Anniversary Exhibition, "Eighteen Washington Artists" featuring Sarah Baker, Samuel Bookatz, William Calfee, Bernice Cross, Robert Franklin Gates, Jacob Kainen, Marjorie Phillips, James Porter, and James Lesesne Wells.
1954 -- Exhibition "Six Washington Painters" featuring Theresa Abbott, Gabriel Cherin, Gloria Besser Green, Alma W. Thomas, and Anita Wertheim.
1955 -- Twelfth anniversary exhibition focused on "Jack Perlmutter".
1957 -- Exhibition, "David C. Driskell: Exhibition of Paintings"
1958 -- Exhibition "Norman Lewis: Paintings"
1959 -- Sixteenth Anniversary Exhibition of "Paintings by Pietro Lazzari, Helen Rennie, Alma Thomas, Andrea De Zerega". Exhibition of "Religious Paintings and Prints by James L. Wells and Sculpture by Selma Burke"
1962 -- Alonzo Aden died suddenly at the age of 56 on October 13 in Washington D.C. Herring solely inherits the Gallery collection.
1969 -- Herring dies at age 84 in Washington, DC. on May 29. Artist Adolphus Ealey inherits the bulk of the gallery collection along with Dr. Felton J. Earls and Dr. and Mrs. Cecil Marquez.
1974 -- Two exhibitions of the collection at the Anacostia Neighborhood Museum and the Corcoran Gallery of Art.
1989 -- Collection sold to Florida Endowment Fund for Higher Education.
1998 -- Robert Johnson, founder and former CEO of Black Entertainment Television (BET) purchased the entire collection and serves as administrators over the collection.
Acquired through a purchase by the Smithsonian National Museum of African American History and Culture.
Collection is open for research. Access to collection materials requires an appointment.
The NMAAHC Archives can provide reproductions of some materials for research and educational use. Copyright and right to publicity restrictions apply and limit reproduction for other purposes.
A 1049-page history of the club written in 1935 and a chronicle, 1860-1865, including lists of officers, income, and members and locations; 15 volumes of secretaries, treasurers and board minutes 1860-1937 (incomplete); a constitution, 1882-1889; some correspondence; exhibition catalogs and announcements; inventories of club collections including a list of the Thomas Anshutz members portraits; copies of speeches delivered; a few remaining artists's files; issues of PORTFOLIO, a club publication, 1874, 1945-49; and photographs, both loose and in scrapbooks, of members in posed and candid arrangements.
Biographical / Historical:
Art club; Philadelphia, Pa. Founded 1860 to provide classes when the Pennsylvania Academy of the Fine Arts school was not active. Exhibitions and social activities were also organized. The club is still active (in 1990).
Lent for microfilming by Philadelphia Sketch Club, 1985-1986.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Series consists primarily of McCausland's professional and, to a lesser extent, personal correspondence, which includes general, artist, and some family correspondence. Correspondence typically consists of letters to and copies of letters from McCausland, along with enclosures (such as clippings and other printed material; contracts, agreements, and other business and financial papers; and proposals and manuscripts) and related material (such as notes, illustrations, and writings). Correspondents include artists, art organizations, museums, curators, editors, publishers, scholars, research institutions, her agent (Mary Squire Abbot), friends, and her mother, Belle Noble McCausland. Correspondence largely documents McCausland's various professional activities as an art critic, art historian, and freelance writer, and her relationships with various figures of the art and publishing worlds before, during, and immediately after the Second World War.
General correspondence relates to articles and reviews that McCausland wrote for the Springfield Republican; to freelance articles she wrote over the years for various publications, including ones for Parnassus, The New Republic, and Magazine of Art, as well as yearly articles for various encyclopedias (such as Encyclopedia Britannica, Encyclopedia Americana, and Collier Encyclopedia); and to various book projects, including Changing New York (1939), Careers in the Arts (1950), and ones on the artists E. L. Henry, George Inness, and Alfred H. Maurer. General correspondence also relates to her teaching job at Sarah Lawrence College and other courses taught; to various editing projects, including photo-editing Carl Sandburg's Poems of the Midwest and the planned book Art and Advertising; her work as a research consultant on the American Processional exhibition and book, and on other exhibitions; and her involvement in various art and social organization, as well as her participation in various conferences. General correspondence largely documents McCausland's tireless efforts to drum up work, and to fund (through various grants and fellowships) and carry out her many research and writing projects.
Correspondence from particular artists, including Arthur Dove, Louis Eilshemius, Marsden Hartley, Georgia O'Keeffe, and Alfred Stieglitz, was maintained by McCausland in files separate from general correspondence. Artist correspondence documents her relationships with these artists - particularly well-documented are her relationships with Dove and Stieglitz - and the artists' reactions to her reviews of their shows. Files of artist correspondence also include some of McCausland's own notes on her feelings about or relationship with particular artists.
Family correspondence consists almost entirely of letters and copies of letters from McCausland to her mother, Belle Noble McCausland. These seem to have originated from the scrapbook kept by McCausland's mother which can be found amongst personal papers.
See Appendix for a list of notable correspondents from Series 2
General correspondence is arranged in rough chronological order. Within individual yearly files, McCausland often grouped together letters to and from a particular correspondent; this existing organization has for the most part been maintained. Selected artist correspondence and family correspondence are arranged in files at the end of the series. Correspondence can also be found amongst research and writing files.
Appendix: Notable Correspondents from Series 2:
List represents only a selection of correspondents from general correspondence.
A. A. Wynn Inc.: 1951
ACA Gallery: 1941, 1943, 1945, 1946, 1947
Abbot, Mary Squire (McIntosh and Otis Company): 1941, 1945, 1947, 1948, 1949, 1950, 1952, 1953, 1954, 1955, 1958
John Simon Guggenheim Memorial Foundation: 1941, 1942, 1943, 1944, 1945, 1946, 1947, 1952, 1953
Jones, Howard Mumford (Harvard University): 1947
Kauffer, E. McKnight: 1946
Kent, Rockwell: 1945, 1946
Kirstein, Lincoln: 1941, 1943, 1944, 1946, 1947
Kish, Maurice: 1945
Kistler, Aline: 1941
Knight Publishers Inc.: 1938
Kuniyoshi, Yasuo: 1945
Landon, Edward: 1939
Lange, Dorothea: 1945
Larkin, Oliver: 1943, 1944, 1949
Leeper, John and Blanche (see also Corcoran Gallery of Art): 1950, 1951, 1954
Leighton, George: 1945
Lerner, Abe (see also World Publishing Company): 1950, 1951
Lipman, Jean: 1945, 1946, 1947, 1952
Lipton, Norman C. ( -- Good Photography -- ): 1941, 1942, 1943
Longman, Lester: 1940
MacMahon, Audrey (see also -- Parnassus -- ): 1936, 1938, 1939, 1940, 1942
The MacMillan Company: 1943, 1947, 1949, 1950
Magazine of Art -- : 1944, 1945, 1946, 1947
Magriel, Paul: 1954
Maurer, Alfred L.: 1951
Metropolitan Museum of Art: 1943, 1947, 1955
Miller, Dorothy: 1950, 1951
Milwaukee Art Institute: 1948
Minicam Photography -- : 1941, 1943, 1944
Modernage Furniture Corp.: 1945
More, Herman (Whitney Museum of American Art): 1954
Morton, Phillip: 1951, 1952
Mount Holyoke College: 1943
Munson-Williams-Proctor Institute: 1956
Museum of Modern Art: 1934, 1942, 1943, 1944, 1945
Museum of the City of New York: 1958
N.W. Ayer and Son: 1945, 1946, 1950
The Nation -- : 1940, 1955
National Gallery of Art: 1944, 1945
National Maritime Union: 1945
Navas, Elizabeth: 1952, 1953, 1954
Neuberger, Roy: 1952
The New American Library -- : 1955, 1956
The New Republic -- : 1944, 1947
The New School for Social Research: 1945
The New York Herald Tribune -- : 1945, 1947
New York Historical Society: 1943
New York Public Library: 1943, 1955, 1956
New York State Museum: 1949
The New York Times -- : 1940
Newark Museum: 1944
Newhall, Beaumont: 1944
Newhall, Nancy: 1945
Norman, Dorothy: 1934, 1937, 1938, 1940
Old Print Shop: 1945
Olmsted, Anna Wetherill (Syracuse Museum of Art): 1950
Opportunity -- : 1943, 1944, 1945
Ossorio, Alfonso: 1953
P. F. Collier and Son Corp.: 1947, 1948, 1949, 1951, 1952, 1953, 1954, 1955, 1957, 1958
Pach, Walter: 1955
Parnassus -- : 1939
Pennsylvania Academy of Fine Art: 1951
Pepsi-Cola Company: 1944, 1945
Philadelphia Art Alliance: 1946
Pierre Matisse Gallery: 1938, 1939
Popular Photography -- : 1943
Portland Art Museum: 1940
Porter, Eliot: 1954
Printer's Ink (Carl Weiss): 1951
Railway Express Agency: 1949
Rivera, Diego: 1949
Rogers, John C.: 1941
Roosevelt, Eleanor: 1944
Rosenblum, Walter: 1944
Rothschild, Lincoln: 1937, 1942, 1945, 1946, 1949
Royce, William: 1933, 1934, 1935, 1942, 1958
Rukeyser, Muriel: 1941, 1950
San Francisco Chronicle -- : 1951, 1953
Sarah Lawrence College: 1942, 1943, 1944
Saturday Evening Post -- : 1946
Schlesinger, Arthur: 1943
School Art League of New York City: 1953, 1954
Schwimmer, Rosika: 1933, 1935, 1943
Sculpture's Guild: 1938, 1940, 1941
Segy, Ladislaw: 1943
Shelter -- : 1939
Sloan, John: 1951
Smith College Museum of Art: 1939, 1954
Soby, James Thrall: 1935, 1946, 1951
Social Science Research Council: 1948
Springfield Museum of Fine Art: 1938, 1940, 1941
Standard Oil: 1946
Stein, Gertrude: 1934
Sterling, Charles (Department of Painting, The Louvre): 1951
Strand, Paul: 1942
Survey Associates -- : 1938, 1939
Sweeney, James John: 1954, 1955, 1956
Thornton, Russell (see also Corcoran Gallery of Art): 1951, 1952, 1953
Time Magazine -- : 1945
Toklas, Alice B.: 1949
Traphagen School of Fashion: 1957
U.S. Camera -- : 1940
University of Chicago Library: 1951
University of Minnesota: 1951
University of Nebraska: 1953, 1954, 1956, 1957
Vanderbilt, Paul (Library of Congress): 1950
Vogue Magazine -- : 1953
Vose, Robert C.: 1945
Wade, Henry: 1954
Walker Art Center: 1946, 1947, 1949, 1950, 1951
Walker, Hudson: 1948, 1949, 1950, 1951, 1952
Ward, Lynd: 1942, 1945, 1947
Western Photography -- : 1946
Weston, Edward: 1943
Weyhe Gallery: 1940, 1951
Wheaton College: 1955
Wheeler, Monroe: 1941, 1942, 1943, 1944, 1945
Whitney Museum of American Art: 1946, 1947, 1951
Wichita Art Association: 1947
Williams, Hermann Warner (see also Corcoran Gallery of Art): 1950, 1951, 1952, 1954
Wilson, Sol: 1945
Worcester Art Museum: 1943, 1945
World Publishing Company: 1946, 1949, 1950, 1955
Yale University Art Gallery: 1949
Yale University Library: 1951, 1952, 1953, 1954
Young, Art: 1941
Young Artists Guild: 1948
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art
The letters, predominately incoming, relate to Lewis' activities on behalf of the Pennsylvania Academy of the Fine Arts regarding exhibitions, prizes, hiring, and problems relating to the teaching staff. There are also letters relating to the Philadelphia Water Color Club, the Art Club of Philadelphia, Lewis' collecting, and letters from artists and others prominent in the arts including Cecilia Beaux and Albert C. Barnes.
Biographical / Historical:
Lawyer, art collector; Philadelphia, Penn. Served on the boards of many Philadelphia arts organizations, including the Pennsylvania Academy of the Fine Arts and the Art Jury of Philadelphia.
Lent for microfilming by American Philosophical Society as part of AAA's Philadelphia Arts Documentation Project. The Lewis collection contains over 45,000 items which document Lewis' legal practice, collecting and business affairs. Only the art related letters were microfilmed.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Art -- Exhibitions -- Pennsylvania -- Philadelphia Search this
Material relating to The Columbianum, including the constitution, by-laws and an exhibition catalog.
REEL P63, fr. 131-132: An agreement to establish a school of fine arts in the United States, 1794 Dec. 29, signed by the artists so agreeing, and resulting in the Columbianum in Philadelphia.
REEL P45, fr. 405-426: 1 v., containing the constitution and by-laws of the Columbianum, or the American Academy of Fine Arts, with signatures of members. The end of the volume was later used as a letterbook for the Philadelphia Museum Company, 1821, by Rubens Peale.
REEL P37, fr. 496: Exhibition catalog of the Columbianum, 1795.
Biographical / Historical:
Art school and society; Philadelphia, Pennsylvania.
Lent for microfilming, 1955, by the Pennsylvania Academy of the Fine Arts and the American Philosophical Society.
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Painting, Modern -- 18th century -- Pennsylvania -- Philadelphia Search this
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.
The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.
In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.
Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.
Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.
Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).
Additional correspondence can be found throughout the collection. See individual series descriptions for details.
See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.
Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)
Whitney Studio Galleries (see also Force): 1929
Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)
Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)
Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)
Williams, Adele (Women's club of Richmond): 1930
Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)
Wilmington Society of the Fine Arts (see Bissell)
Wilson, Henry J.: 1950
Winser, Beatrice: 1935, 1940 (7 letters)
Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)
Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)
Wood, Stanley: 1928
Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)
Zügel, Heinrich von: 1904
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.
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.