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Alma de Bretteville Spreckels papers

Creator:
Spreckels, Alma de Bretteville, 1881-1968  Search this
Names:
California Palace of the Legion of Honor  Search this
Maryhill Museum of Art  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1920-1978
Summary:
The papers of San Francisco art patron and philanthropist Alma de Bretteville Spreckels measure 0.6 linear feet and date from 1920 to 1978. The collection focuses on Spreckels's founding of and service to the California Palace of the Legion of Honor and the Maryhill Museum of Fine Arts through correspondence, financial and legal records, meeting minutes, photographs, printed material, and registrarial records. Of note are Queen Marie of Romania's handwritten descriptions describing the provenance of her mementos and artifacts donated to the Maryhill Museum of Fine Arts.
Scope and Contents:
The papers of San Francisco art patron and philanthropist Alma de Bretteville Spreckels measure 0.6 linear feet and date from 1920 to 1978. The collection focuses on Spreckels's founding of and service to the California Palace of the Legion of Honor and the Maryhill Museum of Fine Arts through correspondence, financial and legal records, meeting minutes, photographs, printed material, and registrarial records. Of note are Queen Marie of Romania's handwritten descriptions describing the provenance of her mementos and artifacts donated to the Maryhill Museum of Fine Arts.
Biographical / Historical:
Alma de Bretteville Spreckels (1881-1968) was an art patron and socialite from San Francisco, California. Her early childhood was marked by near poverty but her fascination with art led her to studying at the Mark Hopkins Institute of Art (San Francisco Art Institute). Alma worked as an artist model for artists such as Robert Aitken, and she was purportedly the inspiration for Aitken's Dewey Monument in San Francisco.

Alma married the heir of a sugar fortune, Adolph B. Spreckels, with whom she had two children. Following Adolph's death in 1924, Spreckels focused her energies on art patronage and philanthropy, including the founding and sourcing of collections for the Palace of the Legion of Honor and the Maryhill Museum of Art.
Provenance:
The collection was donated to the Archives of American Art by Mrs. Dorothy Munn, daughter of Alma de Bretteville Spreckles, in 1980.
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.
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 patrons -- California -- San Francisco  Search this
Philanthropists -- California -- San Francisco  Search this
Topic:
Decorative arts -- Romania  Search this
Citation:
Alma de Bretteville Spreckels papers, 1920-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.sprealma
See more items in:
Alma de Bretteville Spreckels papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90305f023-6e19-41fa-956f-1ae7a7c9302a
EDAN-URL:
ead_collection:sova-aaa-sprealma

Sustainable futures : Ekpenyong Bassey Nsa and the study of traditional-based African artists / Jordan A. Fenton

Author:
Fenton, Jordan  Search this
Smithsonian Libraries African Art Index Project DSI  Search this
Subject:
Bassey Nsa, Ekpenyong 1973-  Search this
Type:
Articles
Place:
Nigeria
Calabar
Date:
2017
Topic:
Mask makers  Search this
Efik mask makers  Search this
Efik masquerade costume  Search this
Art, Efik--Economic aspects  Search this
Art patronage  Search this
Art historians--Professional ethics  Search this
Call number:
N1 .A258
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1087179

Panorama Benson & Hedges de la nueva pintura latinoamericana : Museo Nacional de Bellas Artes, Capital Federal, del 10 abril al 8 de Mayo ...

Title:
Panorama Benson y Hedges de la nueva pintura latinoamericana
Author:
Benson & Hedges  Search this
Museo Nacional de Bellas Artes (Argentina)  Search this
Subject:
Benson & Hedges Art patronage  Search this
Physical description:
[120] p. : ill., ports. ; 26 cm
Type:
Exhibitions
Date:
1980
20th century
Topic:
Painting, Latin American  Search this
Call number:
ND202 .P35X
ND202.P35X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_145736

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Art Patronage in Boston

Collection Creator:
Hills, Patricia  Search this
Container:
Box 22, Folder 6
Type:
Archival materials
Date:
circa 1971-1986
Collection Restrictions:
This collection is temporarily closed to researchers due to archival processing. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Writings by Patricia Hills: The donor has retained all intellectual rights, including copyright, that she may own.
Collection Citation:
Patricia Hills Papers, circa 1900-2022, bulk 1968-2009. Archives of American Art, Smithsonian Institution.
See more items in:
Patricia Hills papers
Patricia Hills papers / Series 11: Subject Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9049c0e38-5a5a-4f3e-80ee-5769149bf375
EDAN-URL:
ead_component:sova-aaa-hillspat-ref659

Artists Talk on Art records

Creator:
Artists Talk on Art  Search this
Names:
Barnet, Will, 1911-2012  Search this
Bourgeois, Louise, 1911-2010  Search this
Christo, 1935-  Search this
De Niro, Robert, Sr., 1922-1993  Search this
Denes, Agnes  Search this
Goldberg, Michael, 1924-2007  Search this
Jeanne-Claude, 1935-2009  Search this
Longo, Robert  Search this
Mendieta, Ana, 1948-1985  Search this
Morris, Robert, 1931-2018  Search this
Murray, Elizabeth, 1940-  Search this
Neel, Alice, 1900-1984  Search this
Pavia, Philip, 1915-2005  Search this
Sleigh, Sylvia  Search this
Wilke, Hannah  Search this
Wojnarowicz, David  Search this
Extent:
64.4 Linear feet
317.43 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Date:
circa 1974-2018
Summary:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.
Scope and Contents:
The records of Artists Talk on Art (ATOA) measure 64.4 linear feet and 317.43 gigabytes and date from circa 1974-2018. The bulk of the records consist of extensive video and sound recordings of events organized by the group featuring artists, critics, historians, dealers, curators and writers discussing contemporary issues in the American art world in hundreds of panel discussions, open screenings, and dialogues held in New York City. Events began in 1975 and continue to the present; recordings in the collection date from 1977 and 2016. A smaller group of records include administrative files, panel flyers, three scrapbooks, as well as photographs, slides, and negatives of panel discussions and participants.

ATOA's recordings chronicle the American art world, covering critical discussions and significant art world issues over five decades. Thousands of artists such as Will Barnet, Louise Bourgeois, Christo and Jeanne-Claude, Robert De Niro, Agnes Denes, Michael Goldberg, Robert Longo, Ana Mendieta, Robert Morris, Elizabeth Murray, Alice Neel, Philip Pavia, Howardena Pindell, Larry Rivers, Sylvia Sleigh, Kahinde Wiley, Hannah Wilke, David Wojnarowicz, and others speak about their work. The original recordings exist in a variety of formats, including U-Matic and VHS videotape, MiniDVs, sound cassettes and sound tape reels. ATOA digitized most of the video and sound recordings prior to donating the collection.

The collection also includes printed histories, board and program committee meeting minutes, financial statements, general correspondence files of the president and chair, attendance statistics, grant files, panel participant release forms, sixteen panel transcripts, a complete set of panel flyers (many are annotated) and other printed materials, three dismantled scrapbooks, as well as photographs, slides, and negatives of panels and panel participants.
Arrangement:
The records are arranged into nine series.

Series 1: Adminstrative Files, 1974-2013 (0.4 linear feet, Box 1)

Series 2: Director's and Chairman's Correspondence, 1977-2006 (0.4 linear feet, Box 1)

Series 3: Grant Files, 1977-2009 (1 linear foot, Boxes 1-2)

Series 4: Panel Release Forms, 1978-2012 (1 linear foot, Boxes 2-3)

Series 5: Panel Transcripts, 1981, 1986, 1988, 2017-2018 (1 folder, Box 3; 0.002 GB, ER01)

Series 6: Printed Materials, 1975-2015 (0.8 linear feet, Boxes 3-4; 0.434 GB, ER02)

Series 7: Scrapbooks, 1975-1989 (0.2 linear feet, Box 4)

Series 8: Photographic Materials, circa 1975-circa 2000 (1 linear foot, Boxes 4-5)

Series 9: Video and Sound Recordings of Events, 1977-2016 (59 linear feet, Boxes 6-65; 317.43 GB, ER03-ER04)
Biographical / Historical:
Established in 1974 and still active in New York, Artists Talk on Art is the art world's longest running and most prolific aesthetic panel discussion series organized by artists for artists. Founded by Lori Antonacci, Douglas I. Sheer, and Robert Wiegand, the forum has presented 6,000 artists in nearly 1,000 documented panels or dialogues. ATOA held its first panel, "Whatever Happened to Public Art," on January 10, 1975 and it drew a "crowd" of 77 people. In the decades that followed, ATOA presented dozens of panels or dialogues a year, tackling such diverse topics as "What is Happening with Conceptual Art," with Louise Lawler and Lawrence Weiner; "Painting and Photography: Defining the Difference," with Sarah Charlesworth, Jack Goldstein, Joseph Kosuth, Barbara Kruger, and Robert Mapplethorpe; "Organizing Arts Activism," with Lucy Lippard; "The Artist and the Epidemic—an information panel about AIDS"; "Cross-generational Views of Feminism"; and hundreds more.
Provenance:
The Artists Talk on Art (ATOA) records, including digital files of the video and sound recordings, were donated to the Archives in 2016 by Douglas Sheer, Chairman of ATOA.
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 born-digital records or 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:
Art critics  Search this
Art dealers  Search this
Art historians  Search this
Artists  Search this
Topic:
Art, American  Search this
Historians  Search this
Genre/Form:
Photographs
Sound recordings
Scrapbooks
Transcripts
Video recordings
Citation:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.artitalk
See more items in:
Artists Talk on Art records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c4de66ef-397b-4e6e-9fde-d6deca12fa3a
EDAN-URL:
ead_collection:sova-aaa-artitalk
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Online Media:

Roy Leeper and Gaylord Hall collection of Miné Okubo papers

Creator:
Okubo, Miné, 1912-2001  Search this
Names:
Central Utah Relocation Center  Search this
Hall, Gaylord  Search this
Hamilton, Howard  Search this
Leeper, Roy  Search this
Tono, Doris  Search this
Tono, Harry  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Sketches
Illustrated letters
Date:
circa 1940-2001
Summary:
The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.
Scope and Contents:
The Roy Leeper and Gaylord Hall collection of Miné Okubo papers measure 1.4 linear feet and date from circa 1940 to 2001. Roy Leeper and Gaylord Hall were long-time friends with and patrons of Okubo from the late 1950s until her death. The collection contains letters, writings, and sketches by Okubo. Among the printed materials is a copy of the 1944 special edition of Fortune magazine which was sympathetic to Japanese Americans interned during World War II and for which Okubo was hired to illustrate. Also found are scattered documents relating to Hall and Leeper.

Biographical materials consist of Roy Leeper's medical licenses. The bulk of the collection is comprised of Miné Okubo's letters, many of which are illustrated, to Hall and Leeper discussing her health, career, their purchase of her artwork, and mutual friends. Other correspondents include Howard Hamilton and Doris and Harry Tono. Writings and notes by Okubo inlcude a statement about the pricing of her artwork and a list of artwork. Leeper and Hall's personal business records concern the purchase and loan of Okubo's artwork for exhibitions.

Printed materials include a 1944 edition of Fortune magazine devoted to the internment of Japanese Americans during World War II. The issue includes reproductions of Okubo's illustrations of life in the World War II internment camp in Topaz, Utah. Photographs include snapshots of Okubo at an exhibition with her art and of works of art. Sketches and drawings depict mostly cats and flowers.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical Material, 1942-1994 (1 folder; Box 1)

Series 2: Correspondence, 1957-2001 (0.8 linear feet; Box 1)

Series 3: Writings and Notes, circa 1940-circa 1970 (3 folders; Box 1)

Series 4: Personal Business Records, 1957-1998 (0.1 linear feet; Box 1)

Series 5: Printed Material, 1944-2000 (0.3 linear feet; Boxes 1-3)

Series 6: Photographs, circa 1940-circa 1990s (3 folders; Box 1)

Series 7: Artwork, 1960s-1997 (0.1 linear feet; Boxes 1-2)
Biographical / Historical:
Miné Okubo (1912-2001) was a Japanese American painter, illustrator, and author. She is known for her book Citizen 13600in which she described her experience at the Topaz War Relocation Camp in Utah through prose and drawings.

Born in Riverside, California in 1912, Okubo began her arts education at Riverside Junior College and transferred to the University of California, Berkeley where she completed her BA and MA in Fine Arts (where she first met Roy Leeper). In 1938, she received an award to travel and study under Fernand Léger in Paris. When World War II began in Europe, she moved back to California and worked under the Federal Arts Project. She produced some solo murals and also assisted Diego Rivera on his Treasure Island mural Pan American Unity, (1940).

In April of 1942, Miné Okubo and one of her brothers were sent to the Tanforan Assembly Center under Executive Order 9066, which forcibly interned over 100,000 Japanese and Japanese-American citizens living on the West Coast of the United States. Six months later, they were sent to the Topaz War Relocation Camp in Topaz, Utah. There, Okubo taught art in the camp's school and often sketched camp life. She was art editor for the camp newsletter Trek, a supplement to the Topaz Times.

In 1944, Fortune magazine published a sympathetic special edition on the Japanese and Japanese American internment during World War II. The magazine hired Okubo to illustrate two of the articles. She was permitted to leave the camp and move to New York City, where she remained for the rest of her life, working as a painter and illustrator. She wrote and illustrated a book about her experiences in the Topaz confinement camp, Citizen 13600, which won the American Book Award in 1984. Miné Okubo died in 2001. Medical doctor Roy Leeper befriended Miné Okubo while they were both students at the University of California. Later, he and his partner dentist Gaylord Hall were reintroduced to Okubo and her artwork by a mutual friend. They began a life-long relationship with Okuba, both as friends and collectors.
Related Materials:
Riverside City College in Riverside, California also holds the Miné Okubo papers.
Provenance:
Roy Leeper and Gaylord Hall donated the collection of Miné Okubo papers in 2001.
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.
Occupation:
Painters -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Authors -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Art patronage  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American illustrators  Search this
Asian American authors  Search this
Women painters  Search this
Women illustrators  Search this
Women authors  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Genre/Form:
Photographs
Drawings
Sketches
Illustrated letters
Citation:
Roy Leeper and Gaylord Hall collection of Miné Okubo papers, circa 1940-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.okubmine
See more items in:
Roy Leeper and Gaylord Hall collection of Miné Okubo papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ba7aefa2-e800-4bfb-af53-665a6038106d
EDAN-URL:
ead_collection:sova-aaa-okubmine

Roy Leeper and Gaylord Hall collection of Miné Okubo papers, circa 1940-2001

Creator:
Okubo, Miné  Search this
Subject:
Hall, Gaylord  Search this
Tono, Harry  Search this
Tono, Doris  Search this
Leeper, Roy  Search this
Hamilton, Howard  Search this
Central Utah Relocation Center  Search this
Type:
Photographs
Drawings
Sketches
Illustrated letters
Citation:
Roy Leeper and Gaylord Hall collection of Miné Okubo papers, circa 1940-2001. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Art patronage  Search this
Asian American art  Search this
Asian American artists  Search this
Japanese American art  Search this
Japanese American artists  Search this
Asian American painters  Search this
Asian American illustrators  Search this
Asian American authors  Search this
Women painters  Search this
Women illustrators  Search this
Women authors  Search this
Japanese Americans -- Forced removal and internment -- 1942-1945  Search this
Theme:
Women  Search this
Asian American  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6339
(DSI-AAA_SIRISBib)227022
AAA_collcode_okubmine
Theme:
Women
Asian American
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_227022
Online Media:

Francis V. O'Connor papers

Creator:
O'Connor, Francis V.  Search this
Names:
Federal Art Project  Search this
National Endowment for the Arts  Search this
United States. Work Projects Administration  Search this
United States. Works Progress Administration  Search this
Extent:
23.4 Linear feet
0.001 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Date:
1920-2009
Summary:
The papers of New York art historian Francis O'Connor measure 23.4 linear feet and 0.001 GB and date from 1920-2009. Found within the papers are artist and exhibition files, questionnaires, transcripts, writings, project files, and printed and digital material that pertain to O'Connor's research and publications on the New Deal and the Federal Arts Project of the Works Progress Administration.
Scope and Contents:
The papers of New York art historian Francis O'Connor measure 23.4 linear feet and date from 1920-2009. Found within the papers are artist and exhibition files, questionnaires, transcripts, writings, project files, and printed and digital material that pertain to O'Connor's research and publications on the New Deal and the Federal Arts Project of the Works Progress Administration.

The "NCFA Library" consists of research materials collected, created, and compiled during the course of O'Connor's research project supported by the National Endowment for the Humanities for his books Federal Support for the Visual Arts (1969) and Art for the Millions (1973). Files contain administrative records, artists' files, and questionnaires and essays that document the administration of New Deal art projects. The files were collated by O'Connor into a set that remains intact.

The publications series consists of additional research and administrative materials specifically related to O'Connor's four publications on the WPA/FAP and New Deal artists: Federal Support for the Visual Arts: The New Deal and Now (1969), New Deal Art Projects: An Anthology of Memoirs (1972), Art for the Millions (1973), and Federal Art Patronage Notes (newsletter, 1974-1984).

New Deal research files are more general research materials collected by or sent to O'Connor in the course of his academic career. These include information on New Deal administrators and state specific WPA projects; photocopies of original WPA activity and reports; and New Deal scholarship, academic symposia, and conferences.

New Deal exhibitions include announcement and catalogs of contemporary New Deal art exhibitions in the U.S. from the 1960s to the 1990s. Project files are related to three publically and privately funded New Deal research projects O'Connor directed or participated in. Printed materials consists of press coverage of federal arts patronage in the United States dating from the 1960s to 2008.
Arrangement:
The collection is arranged as 6 series. There is some overlap in series reflecting O'Connor's original order.

Missing Title

Series 1: NCFA Library, 1920-1974 (6.7 linear feet; Boxes 1-7, OV 28)

Series 2: Publications, 1939-1985 (4.3 linear feet; Boxes 7-11, BV 25-26, OV 27)

Series 3: New Deal Research Files, 1930-2009 (5.6 linear feet; Boxes 11-16)

Series 4: New Deal Exhibitions, 1961-1997 (1.4 linear feet; Boxes 17-18)

Series 5: Project Files, 1935-1999 (2 linear feet; Boxes 18-20, ER01; 0.001 GB)

Series 6: Printed Material, 1963-2008 (3.4 linear feet; Boxes 20-24)
Biographical / Historical:
New York art historian and poet Francis O'Connor (1937- ) is best known for his research and writings on the New Deal art programs of the Depression and the Roosevelt Administration. O'Connor received his Ph. D. from Johns Hopkins University in 1965 and taught contemporary European and American art history at the University of Maryland from 1964 to 1970. While at Maryland, he organized the country's first comprehensive exhibition of New Deal art programs since their ending in 1943. From 1967 to 1968, he also headed a research program for the National Endowment for the Arts to analyze the effectiveness of New Deal art patronage, which eventually led to the publication of Federal Support for the Visual Arts: The New Deal and Now (1969), New Deal Art Projects: An Anthology of Memoirs (1972), Art for the Millions (1973).

In addition to his work on New Deal art patronage, throughout the 1980s and 1990s, O'Connor continued to teach and lecture at universities, consulted on federally and privately funded research projects, and published critical essays for exhibition catalogs, anthologies and academic journals. He is a member of the College Art Association, International Association of Art Critics, and founded the Association of Independent Historians of Art in 1982.
Separated Materials:
Bound assemblies of periodicals were transferred to the Smithsonian Art Libraries in 2010, which retained relevant volumes and made final decisions regarding disposition of any remaining items.
Provenance:
The papers were donated by Francis O'Connor to the National Collection of Fine Arts, now the Smithsonian American Art Museum, which subsequently transferred the papers, with O'Connor's permission, to the Archives of American Art in 1974. In 2010, O'Connor donated an additional 15.8 linear feet of papers to the Archives.
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 and born-digital records in this collection must use access copies. Contact References Services for more information.

The Artists' Questionanaires require permission from each artist before publishing, quoting, or reproducing. Contact Reference Services for more information.
Rights:
Items created by Francis V. O'Connor: copyright held by Avis Berman. Artists' questionnaires: Authorization to publish, quote, or reproduce requires written permission from the individual artist. 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.
Occupation:
Art historians  Search this
Topic:
Federal aid to the arts  Search this
New Deal, 1933-1939  Search this
Transcripts  Search this
Citation:
Francis V. O'Connor papers, 1920-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.oconfran
See more items in:
Francis V. O'Connor papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw928830ed7-4840-4fdf-a797-217fa306c1e7
EDAN-URL:
ead_collection:sova-aaa-oconfran

Beyond nobility, art for the private citizen in the early Renaissance : Allentown Art Museum, September 28, 1980, through January 4, 1981 / Ellen Callmann

Author:
Callmann, Ellen  Search this
Allentown Art Museum  Search this
Physical description:
xxii, 126 p., [2] leaves of plates : ill. (some col.) ; 28 cm
Type:
Exhibitions
Place:
Italy
Date:
1980
C1980
Topic:
Art, Italian  Search this
Art, Early Renaissance  Search this
Art patronage  Search this
Art--Private collections  Search this
Call number:
N6915 .C28X
N6915.C28X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_138834

Die Sammlung des Vereins der Freunde des Kunstmuseums Basel / [bearbeitet von Nikolaus Meier]

Author:
Meier, Nikolaus  Search this
Kunstmuseum Basel, Öffentliche Kunstsammlung  Search this
Kunstmuseum Basel, Öffentliche Kunstsammlung Verein der Freunde  Search this
Subject:
Kunstmuseum Basel, Öffentliche Kunstsammlung Verein der Freunde Art patronage  Search this
Kunstmuseum Basel, Öffentliche Kunstsammlung  Search this
Physical description:
56 p. : ill. ; 22 cm
Type:
Exhibitions
Date:
1983
[1983]
Topic:
Art, Modern  Search this
Call number:
N6350.M28 1983X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_358696

India: East / West : the age of discovery in Late Georgian India, as seen through the collections of the Royal Asiatic Society, London / curated by Jochen Sokoly & Alison Ohta

Author:
Sokoly, Jochen A (Jochen Artur)  Search this
Ohta, Allison  Search this
Royal Asiatic Society of Great Britain and Ireland  Search this
VCU Qatar  Search this
Subject:
East India Company Art patronage  Search this
Physical description:
206 p. : ill. (chiefly col.) ; 25 cm
Type:
Pictorial works
Exhibitions
Place:
India
Date:
2010
[2010]
18th century
19th century
Topic:
Painting  Search this
Painting--History  Search this
In art  Search this
Civilization  Search this
Iranian influences  Search this
Call number:
ND2047 .S65 2010
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1025500

A selection of late 18th & early 19th century Indian botanical paintings recording the indigenous and introduced flora of the subcontinent, commissioned by the honourable East India Company and executed in watercolor by native artists, variously lent from the collections of the British Museum (Natural History), India Office Library, Linnean Society of London & Royal Botanic Gardens, Kew / with accompanying catalogue by Phyllis I. Edwards ... [et al.] ; pref. by John V. Brindle ; and introduct...

Author:
Hunt Institute for Botanical Documentation  Search this
Edwards, Phyllis Irene  Search this
Subject:
East India Company Art patronage  Search this
Physical description:
72 p. : ill. (some col.) ; 25 cm
Type:
Exhibitions
Place:
India
Date:
1980
Topic:
Botanical illustration  Search this
Botany--Pictorial works  Search this
Watercolor painting, Indic  Search this
Call number:
QK79.U62 P573X
QK79.U62P573X
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_136455

Marc Sandler papers

Creator:
Sandler, Marc, 1907-1968  Search this
Names:
Bohrod, Aaron  Search this
Grosz, George, 1893-1959  Search this
Hirsch, Joseph, 1910-1981  Search this
Reynard, Grant T., 1887-1968  Search this
Soyer, Raphael, 1899-1987  Search this
Wickey, Harry  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1947-1955
Scope and Contents:
Correspondence between Sandler and George Grosz, Harry Wickey, Grant Reynard, Aaron Bohrod, Joseph Hirsch, Raphael Soyer, and others; a 62-page manuscript on Grosz, written by Sandler shortly before his death. It recounts Sandler's chance encounter with Grosz in a Berlin cafe in 1932 when Grosz was pondering an invitation to teach at the Art Students League; it also recalls their respective escapes to the U.S. during World War II; and their reunion in New York City in 1946.
Biographical / Historical:
Art collector; Sweden and Pennsylvania. Swedish-born Sandler came to the United States in 1940 as a courier on a confidential mission to the Swedish embassy regarding Hitler. According to his son Ralph, he and his wife had started an art collection in Sweden, but when they were divorced after coming to this country, his wife kept the collection. Marc moved to Pittsburgh, where he started collecting once again, this time focusing on American paintings that were not, in his words, "sucked into the whirlpool of French movements."
Provenance:
Lent for microfilming March 1986 by Ralph Sandler, son of Marc Sandler.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Collectors and collecting  Search this
Art patronage -- Pennsylvania  Search this
Identifier:
AAA.sandmarc
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96030e91a-a1c5-44d0-8cbd-5561e5fb9325
EDAN-URL:
ead_collection:sova-aaa-sandmarc

Thomas Benedict Clarke scrapbooks

Creator:
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Names:
Century Association (New York, N.Y.)  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Lambs (New York, N.Y.)  Search this
Lincoln Club (New York, N.Y.)  Search this
Merchants Club (New York, N.Y.)  Search this
National Academy of Design (U.S.)  Search this
Union League Club (New York, N.Y.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Barye, Antoine-Louis, 1796-1875  Search this
Inness, George, 1825-1894  Search this
Smyth, Frederick, 1832-1900  Search this
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:

Missing Title

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.
Identifier:
AAA.clarthom
See more items in:
Thomas Benedict Clarke scrapbooks
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92536a00c-2365-4c57-a77b-277080741854
EDAN-URL:
ead_collection:sova-aaa-clarthom

Oral history interview with Huntington Hartford

Interviewee:
Hartford, Huntington, 1911-2008  Search this
Interviewer:
Cummings, Paul  Search this
Extent:
1 Sound tape reel (Sound recording (1 hour), 7 in.)
19 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1970 May 19
Scope and Contents:
An interview of Huntington Hartford conducted 1970 May 19, by Paul Cummings, at the artist's home in New York, N.Y., for the Archives of American Art.
Biographical / Historical:
Huntington Hartford (1911-2008) was an art collector and patron from New York, N.Y.
Provenance:
This interview is part of the Archives' 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 others.
Restrictions:
Transcript available on the Archives of American Art website.
Topic:
Art, American  Search this
Art patronage -- New York (State) -- New York  Search this
Art -- Collectors and collecting -- New York (State) -- Interviews  Search this
Art patrons -- New York (State) -- New York -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.hartfo70
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw90d6e830c-61b4-4416-abc2-0a5099b149bd
EDAN-URL:
ead_collection:sova-aaa-hartfo70
Online Media:

Florence M. Barnes letter and printed material

Creator:
Barnes, Florence Maiullo, 1909-  Search this
Names:
Berenson, Bernard, 1865-1959  Search this
Extent:
2 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1954-1960
Scope and Contents:
One letter to Barnes from Bernard Berenson; and a copy of HARVARD TODAY which includes and article about Berenson.
Biographical / Historical:
Art patron and friend of Bernard Berenson; Detroit, Michigan.
Other Title:
Bernard Berenson papers (microfilm title)
Provenance:
Donated 1960 by Florence Barnes.
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.
Occupation:
Art historians -- Italy  Search this
Art patrons -- Michigan -- Detroit  Search this
Topic:
Art, Renaissance -- Italy  Search this
Art patronage  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.barnflor
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw956db8837-a02e-4510-81ea-72e4dc5ce2e2
EDAN-URL:
ead_collection:sova-aaa-barnflor

Isabella Stewart Gardner letters to Bernard Berenson

Creator:
Gardner, Isabella Stewart, 1840-1924  Search this
Names:
Berenson, Bernard, 1865-1959  Search this
Extent:
1 Reel (ca. 400 items (on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Reels
Date:
1887-1924
Scope and Contents:
Letters from Isabella Stewart Gardner to Berenson and his wife, Mary.
Biographical / Historical:
Art historian, critic, collector, and teacher; Florence, Italy. First name often spelled Bernhard. Was "discovered" by Isabella Stewart Gardner immediately after his graduation from Harvard. As a patron of the fine arts, Gardner financed Berenson's travels in Italy to collect Italian Renaissance art for the Venetian palazzo she re-created in Boston. Berenson bought Villa I Tatti, his home in Florence, before the Second World War. During the war he and his wife and his personal secretary were exiles in the villa for several years. He lived there until his death where upon he bequeathed it to Harvard University.
Provenance:
Microfilm copy lent by Isabella Stewart Gardner Museum 1974. AAA duplicated the microfilm for its own collections. Microfilm labeled Isabella Stewart Gardner papers.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art critics -- Italy  Search this
Art historians -- Italy  Search this
Topic:
Art, Renaissance -- Italy  Search this
Art patronage  Search this
Art -- Collectors and collecting -- Italy  Search this
Identifier:
AAA.gardisas
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92860af1e-c355-42eb-aba8-974837373e01
EDAN-URL:
ead_collection:sova-aaa-gardisas

Augustus Saint-Gaudens letters

Creator:
Saint-Gaudens, Augustus, 1848-1907  Search this
Names:
Flannagan, John Bernard, 1895?-1942  Search this
Levy, Florence N. (Florence Nightingale), 1870-1947  Search this
Saint-Gaudens, Augusta Homer, d. 1926  Search this
Extent:
9 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1905-1906
Scope and Contents:
Correspondence and letters from Saint-Gaudens.
REEL 3621: aFive letters and a receipt from Mr. and Mrs. Saint-Gaudens in Windsor, Vt. to Mrs. Frederick Ferris Thompson in Canandaigua, N.Y, discussing employing Saint-Gaudens's student, John Flanagan, to obtain for Mrs. Thompson a copy of the "Discobolus" in the Louvre and the bust Saint-Gaudens is making of Mr. Thompson. The receipt is for the final payment for the bust. One letter is from Mrs. Saint Gaudens explaining that they will be unable to visit the Thompsons since Mr. Saint-Gaudens is unable to travel.
REEL D10: Three letters from Saint-Gaudens to Mr. Keep, June 6, 1891, asking him to visit the studio; to Florence Levy, June 29, 1901 and April 30, 1906, concerning photographs she requested of a portrait of Saint-Gaudens's son by John Singer Sargent; and to an unidentified individual, November 20, 1891.
Biographical / Historical:
Sculptor; Windsor, Vt. Mrs. Frederick Thompson, the recipient of these letters, employed Saint-Gaudens to make a portrait medallion of her husband. The work is now in St. Anthony Hall, a fraternity house at Williams College in Williamstown, Mass. Saint-Gaudens died a year after completing this.
Provenance:
Material on reel 3621 lent for microfilming by S. Lane Faison, Director of the Williams College Museum of Art. Levy letters on reel D10 purchased with funds given by Charles Hamilton 1956. Other letters on reel D10 donated by Charles E. Feinberg, an active donor and friend of AAA.
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.
Occupation:
Art patrons -- New York (State)  Search this
Sculptors -- Vermont -- Windsor  Search this
Topic:
Art patronage  Search this
Art -- Commissioning  Search this
Identifier:
AAA.sainaugu
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9308430ac-60f0-4162-b5ba-a9b77fc3c3eb
EDAN-URL:
ead_collection:sova-aaa-sainaugu

Daniel Millsaps papers

Topic:
Washington International Arts Letter
Creator:
Millsaps, Daniel  Search this
Extent:
14 Linear feet
Type:
Collection descriptions
Archival materials
Date:
[ca.1938]-1982
Scope and Contents:
Printed material, correspondence, writings, business records, subject files, photographs, a scrapbook, and audio tapes concerning government and the arts, art patronage, and Millsaps' career as a dealer and artist.
Included are speeches, exhibition catalogs and other printed materials; addresses, both personal and business; letters, undated and 1938-1982 from Millsaps' career in the army, as a young painter in New York, and regarding his efforts as a lobbyist to secure federal funding for artists through the 1960's and 1970's; invitations and announcements; notes and writings; business records; and subject files evolved from his activities as President of the WASHINGTON INTERNATIONAL ARTS LETTER and his work with the National Endowment for the Arts and the National Council of the Arts.
File subjects include: Artists Equity Association, Business Committee of the Arts, Community Arts Council, National Endowment for the Arts, National Council of the Arts, Nuki Gallery, Old Market Gallery Show, the Washington International Arts Letter, and others. Also includes: clippings; photographs of Millsaps, his friends, art shows, and works of art by Millsaps and others; a scrapbook of exhibition announcements, clippings, and photographs, 1961; 2 cassette tapes: one of the Artist Equity conference on American Artists, Jan. 28, 1971 and the other of Nancy Hanks at the Octagen House, Jan. 12, 1971; and one reel-to-reel tape.
Biographical / Historical:
Art dealer, painter and administrator; Washington, D.C.; b. 1929; d. 1982. Founded the WASHINGTON INTERNATIONAL ARTS LETTER in 1962, a newsletter "concerning 20th century patronage, support programs and developments," particularly government support.
Provenance:
Donated 1979 and 1982 by Daniel Millsaps.
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.
Occupation:
Administrators -- Washington (D.C.)  Search this
Art dealers -- Washington (D.C.)  Search this
Painters -- Washington (D.C.)  Search this
Topic:
Art and patronage  Search this
Art and state  Search this
Identifier:
AAA.milldani
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9528fddfe-b63b-40ec-816f-1a9b16447a5f
EDAN-URL:
ead_collection:sova-aaa-milldani

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