The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.
Scope and Content Note:
The papers of Boston and New Hampshire painter Joseph Lindon Smith date from 1647-1965, with the bulk of papers dating from 1873-1965, and measure 8.8 linear feet. Found within the papers are biographical materials; letters from family members, artists, museums, and art patrons; seven diaries by Smith and two by his wife Corinna, personal business records, notes and writings, files concerning charitable theatrical productions, one sketchbook and other art work, a scrapbook, printed material, photographs, and sound recordings of radio interviews and a radio program on Smith.
Scattered biographical material consists of family history documents for the Smith and Putnam families, a Jenkes family tree, and passports for Joseph Lindon Smith and his family.
Over three linear feet of letters are from family members, artists including Cecilia Beaux, Frank Benson, George DeForest Brush, and Denman Ross, museum staff concerned with work in Egypt, and art patrons including Isabella Stewart Gardner, and individuals involved with Smith's charitable pageants. There are scattered letters from Lawrence Alma-Tadema, Henry James, Charles G. Loring, Paul Manship, General John J. Pershing, John Singer Sargent, and Abbott Handerson Thayer. Among the subjects discussed are student life at the Académie Julian, the Smiths' travels, and individuals known by Smith.
Seven diaries written by Joseph Lindon Smith document his ravels in Egypt, Persia, Europe, and New Mexico. Two diaries were written by Corinna Smith during her travels to Beiram and Egypt.
Personal business records business records include contracts, price lists, lists of securities, and miscellaneous receipts of the Smith and Putnam families, Joseph Lindon Smith, Corinna Smith, and their daughter Lois Smith.
Notes include engagement calendars, notebooks, lists of art work, lecture notes, minutes of meetings, notes on family history and on travel, and an autograph by Kit Carson. Writings include miscellaneous typescripts by the Smiths and others concerning travel, work in Egypt and elsewhere, and anecdotes about various friends and acquaintances. There are also three drafts of "Egypt - My Winter Home."
Theatrical production files concern plays, pageants, and masques written and/or produced by the Smiths. Many of the performances were benefits, dedication or anniversary celebrations, such as a pageant given at Fenway Court in honor of Isabella Stewart Gardner, a pageant at the dedication of a memorial to Abbott Handerson Thayer, and the centenary celebration of the founding of Amherst, Massachusetts.
Art work includes a sketchbook with extensive notes, a painting, drawings by Joseph Lindon Smith, and prints by other artists.
A scrapbook contains clippings and an exhibition catalog from the St. Botolph Club. Additional printed material includes clippings, exhibition announcements and catalogs, press releases, programs, booklets, brochures, and books by others.
Photographs are of Smith, his family, friends including classmates from the Académie Julian, Isabella Stewart Gardner, Abbott Handerson Thayer, exhibition installations, military camp sites from World War I, travel scenes, and art work by Smith.
Audio recordings consist of four sound disc recordings of interviews for WKNE Radio, Keene, New Hampshire, with Corinna Smith and Barry Faulkner talking about Smith, and a program about Smith and his book Tombs, Temples, and Ancient Art.
Arrangement:
The collection is arranged as 11 series:
Missing Title
Series 1: Biographical Material, 1711-1948 (Box 1, 10; 5 folders)
Series 2: Letters, 1768-1965 (Box 1-4, OV 11; 3.5 linear feet)
Series 3: Diaries, 1904-1949 (Box 4; 11 folders)
Series 4: Personal Business Records, 1647-1959 (Box 4, 10; 11 folders)
Series 5: Notes and Writings, 1783-1963 (Box 4-6; 2.0 linear feet)
Series 6: Theatrical Production Files, 1897-1950 (Box 6-7, 10; 1.2 linear feet)
Series 7: Art Works, 1932-1943 (Box 8, 10; 8 folders)
Series 8: Scrapbook, 1888-1901 (Box 8; 1 folder)
Series 9: Printed Material, 1723-1963 (Box 8, OV 11; 0.8 linear feet)
Series 10: Photographs, 1884-1956 (Box 8-10; 0.5 linear feet)
Series 11: Audio Recordings, 1956 (Box 9-10; 2 folders)
All material is arranged chronologically except for the writings by others and travel photographs that are arranged alphabetically.
Biographical Note:
Joseph Lindon Smith (1863-1950) of Boston, Massachusetts and Dublin, New Hampshire, was a painter primarily known for his ability to meticulously depict the murals and tomb sculpture of Egypt and other ancient cultures.
Joseph Lindon Smith was born on October 11, 1863 in Pawtucket, Rhode Island, the son of wholesale lumberman Henry Francis Smith and Emma Greenleaf Smith, a cousin of John Greenleaf Whittier.
From 1880 to 1882, Smith studied drawing and painting at the Art School of the Boston Museum of Fine Arts under Frederic Crowninshield and Otto Grundman. Accompanied by his friend, Frank Benson, he attended the Académie Julian and studied under William Bouguereau, Gustave Boulanger, and Jules Lefebvre from 1883 to 1885.
Upon his return to Boston, Smith established a studio as a portrait and landscape painter, attracting the attention of Denman Ross, a professor of History of Fine Arts at Harvard University. In the early 1890s Smith and Ross began to travel extensively and Smith became interested in ancient civilizations of Mexico, China, and Southeast Asia. In 1892, during a trip to Italy, Smith befriended Isabella Stewart Gardner, for whom he copied famous paintings, and occasionally acted as agent in purchasing art work.
Making his first trip to Egypt in 1898, Smith became enthralled with the art work of the ancient civilization and devoted himself to painting copies of the tomb sculptures and murals for educational uses in museums and other public institutions. In 1899, he married Corinna Haven Putnam and the couple spent much of their married life traveling between the United States and the Middle East, especially Egypt. From 1910 to 1939, Smith was a member of the Joint Expedition of the Boston Museum of Fine Arts and Harvard University directed by Dr. George A. Reisner.
For fifty years, Smith was also sought out as a writer and producer of plays and theatrical pageants, fetes, and masques primarily staged for various charitable fund-raising events.
Joseph Lindon Smith died on October 18, 1950 in Dublin, New Hampshire.
Related Material:
The papers of Smith's wife, Corinna Putnam Smith, are available at The Schlesinger Library of Radcliffe College, Cambridge, Massachusetts.
Provenance:
The Joseph Lindon Smith papers were donated by Jessie T. Hale, Smith's granddaughter, in 1977 and 1978.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Massachusetts art patron, art collector and engineer Desmond Fitzgerald measure 1 linear foot and date from 1868 to 1927. The papers consist of 28 diaries, one account book, one exhibition catalog, and a photograph of Desmond Fitzgerald.
Scope and Contents:
The papers of Massachusetts art patron, art collector and engineer Desmond Fitzgerald measure 1 linear foot and date from 1868 to 1927. The papers consist of 28 diaries, one account book, one exhibition catalog, and a photograph of Desmond Fitzgerald.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Desmond Fitzgerald (1846-1926) was an art patron, art collector, and engineer based in Brookline, Massachusetts. He served on the boards of the Boston Public Library and the Copley Society. In 1913, Fitzgerald arranged to have the Armory Show come to Boston. His collection of mainly French and American impressionist paintings by Claude Monet, Dodge Macknight, and others became a kind of semi-public museum. Upon his death, the collection was sold at auction.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel D177, including letters from Macknight to Desmond Fitzgerald, Boston critic, collector, dealer, and biographer of Dodge Macknight; press clippings concerning Macknight exhibitions; and letters to Fitzgerald from Isabella Gardner, Claude Monet, and John Henry Twachtman, mostly relating to Macknight. The original loaned materials on reel D177 were returned to the donor Andrew Oliver after microfilming and are not described in the container inventory.
Provenance:
Material on reel D177 was lent for microfilming in 1965 by Andrew Oliver, then returned to him. Material on reels 2774-2775 (the diaries, auction book, and exhibition catalog) was purchased in 1979 from an auction in New Hampshire by the dealers R. & D. Emerson of Falls Village, Connecticut. The Archives of American Art arranged to purchase them through a grant from the Hope Foundation of Providence, Rhode Island, a philanthropic organization founded by the Brown family. Fitzgerald was a cousin of John Nicholas Brown.
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 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:
Collectors -- Massachusetts -- Brookline Search this
Art patrons -- Massachusetts -- Brookline Search this
An interview of Elizabeth Saltonstall conducted 1981 November 18, by Robert F. Brown, for the Archives of American Art.
Saltonstall discusses her experiences with art as a child in Boston (mentioning Frank Weston Benson as an influence) and her subsequent art education at the Winsor School, the art school of the Museum of Fine Arts, Boston, and independent study in Paris. She remembers the various teaching styles of the Museum School faculty (Frederick A. Bosley, Henry Hunt Clark, Anson K. Cross, Philip Leslie Hale, Alexander James, and Leslie P. Thompson), especially as they contrasted with French teaching methods. She also speaks of her teachers in France and on Martha's Vineyard and Nantucket (including Frank Swift Chase), and recalls some of her co-students (including Josef Presser). Particular mention is made of a lithography workshop taught by Stow Wengenroth, and of George C. Miller, who printed her lithography stones. Her cousin, Nathaniel Saltonstall, is discussed as a patron of the arts, especially his contributions to the establishment of the Institute of Modern Art [Institute of Contemporary Art] in Boston. She touches also on her own teaching career at Winsor School and Milton Academy, and her involvement with the Boston Society of Independent Artists and the Grace Horn Gallery.
Biographical / Historical:
Elizabeth Saltonstall (1900-1990) was a painter, printmaker, and instructor of Chestnut Hill, Mass.
General:
Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 25 min.
Provenance:
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.
Occupation:
Art teachers -- Massachusetts -- Boston Search this
Letters, business records, diary, and photographs.
REEL 380-413: Primarily correspondence, mostly Gardner's own, but including family correspondence and Gardner Museum correspondence.
REELS 631-632: Personal papers of Gardner and some records of the Isabella Stewart Gardner Museum including dealers' files containing invoices, notes, cancelled checks, and letters; a record book, "Prices Paid for Paintings," 1917; a record book, "Prices Paid for Works of Art"; 118 installation photographs of the museum as arranged by Gardner, 1924; a diary kept in Egypt, 1874, with sketches; a diary kept in Shanghai and India, 1883-1884; "Directions for my funeral," 1912; and "Suggestions for Running a Museum," 1913.
REELS 696-698: Letters from Bernard Berenson to Gardner, 1887-1924. Letters contain references to literary topics, Berenson's impressions of Europe, various paintings and artists, advice to Gardner on the purchase of paintings and information on their sale.
REEL 846: Checklist of Gardner's letters to Bernard and Mary Berenson, 1894-1924; typescripts of personal and official correspondence (originals found on AAA microfilm reels 696-698), 1887-1924.
Biographical / Historical:
Isabella Stewart Gardner was an art patron, collector, and museum founder in Boston, Mass. Immediately after graduation from Harvard, Bernard Berenson was hired by Gardner to travel throughout Italy collecting Italian Renaissance art for her recreated Venetian palazzo in Boston. She established her palazzo as a museum of fine European art with stipulations that after her death none of the exhibited works was to be moved or rearranged, but left as she had designed during her lifetime.
Provenance:
Microfilm lent by Isabella Stewart Gardner Museum for duplicating, 1972-1975.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art patrons -- Massachusetts -- Boston Search this
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston Search this
Art, Renaissance -- Massachusetts -- Boston Search this
Woodbury, Charles H. (Charles Herbert), 1864-1940 Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1878-1959
Scope and Contents:
The papers of Charles H. Woodbury and Elizabeth Ward Perkins measure 2.4 linear feet and date from 1878-1959. Included are correspondence, writings, exhibition files, inventories, art work, photographs and printed material.
Correspondence includes circa 340 letters from Woodbury to Perkins written from Maine, Massachusetts, and various locales; circa 40 letters from Woodbury to his mother, mostly written from Holland with notes about the letters. Other letters are to Woodbury from Edward Filene, John B. Paine, and Thomas Allen, regarding the painting Mid-Ocean; a letter from Sam Houghton regarding his purchase of a watercolor; letters to Woodbury from William Merrit Post, Charles C. Curran (of the National Academy of Design), Benjamin Kimball, Malvina Hoffman, George W. Eggers (of the Art Institute of Chicago), and Leila Mechlin (of Southern Art Projects); letters to Woodbury from Arthur Wesley Dow, John C. Pierson, Hughes Mearns, Philip R.V. Carol, Ruth E. Hutchins, Charles W. Eliot, and Vernon M. Cady regarding Woodbury's manuscripts, "The Art of Seeing and Observation: Visual Training Through Drawing"; letters to Woodbury and Elizabeth Perkins from Charles J. Connick, various institutions, and the Assistant Secretary of State regarding Woodbury's art; legal correspondence to Perkins regarding Woodbury's estate taxes and disposition of paintings; and letters to Anna Perkins, daughter of Elizabeth Perkins, from Castano Galleries.
Writings consist of notes and essays by Woodbury on the technique and philosophy of drawing, painting and etching, and a paper by Woodbury and Perkins "The Modern School and Its Sources". Exhibition files include exhibition price lists, venue lists and typescripts of reviews for Woodbury's traveling exhibition with the Federation of Arts. Inventories consist of price lists and a card file (circa 900 cards) of watercolors and oil paintings by Woodbury, 1886-1942, containing title of the work, the date painted, the size, and the disposition of the work. Artwork includes 63 drawings (one dedicated to Perkins), two etchings, and two paintings by Woodbury. Photographs are of works of art by Woodbury.
Printed material includes a scrapbook of clippings relating to Woodbury and Perkins and the Woodbury Training School in Applied Observation and their other art education endeavors; a book, "Descendants of Alexander Robinson and Angelica Peale," owned by Perkins; exhibition price lists; venue lists and typescripts of reviews for Woodbury's traveling exhibition with the Federation of Arts.Photographs are of Woodbury's artwork.
Biographical / Historical:
Elizabeth Ward Perkins (1873-1959) was an artist and art patron who studied, worked and collaborated with Charles H. Woodbury.
Provenance:
Most of the papers were in Perkins' possession at the time of Woodbury's death. The card file on reel 2788 was donated in 1957 from the American Art Research Council, Whitney Museum of American Art, which had received it from Perkins' heirs. Material on reel 268 was owned jointly by Perkins' heirs, and donated in 1957 with the assistance of Giovanni Castano (Castano Galleries, Boston, Mass.), along with Charles C. Perkins' (Elizabeth Perkins' father-in-law) diary and art works, and Samuel Gray Ward's (her grandfather) art works and photographs, each described and housed separately. The scrapbook (unmicrofilmed) probably came at the same time. The remainder of the unmicrofilmed material was donated in 1989 by Perkins' daughters, Anna W. Perkins and Mary Perkins Ryan, in 2009 by John H. Mansfield, Perkins' grandson, and in 2018 by Maria Luisa F. Mansfield, Mansfield's wife.
Also found in the Archives are the Charles H. Woodbury papers.
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.
Minutes of a meeting of the trustees of the Saltonstall Arts Fund; letters and memorandums relating to the sale of works from the Saltonstall collection; lists of works in the collection and appraisals; a "Memorial Exhibition" catalog; an estate auction catalog; and photocopies of clippings about Saltonstall.
Biographical / Historical:
Nathaniel Saltonstall, an architect and art collector, was one of the founders of the Institute of Contemporary Art (ICA) in Boston, Massachusetts. He was President from 1936-1948, and 1960-1961; and Honorary President from 1961-1968. He was also a long-time trustee of both the ICA and the Museum of Fine Arts, Boston. In 1959, he established the "Nathaniel Saltonstall Arts Fund" in memory of his parents. Through auctions and sales of works in his collection, numerous schools, colleges, museums and galleries have received gifts from the fund and/or had the opportunity to show work not otherwise available.
Provenance:
Donated in 1992 by Eloise W. Hodges, a grand niece of Nathaniel Saltonstall. She received the material from her father, Philip Weld, an executor of Saltonstall's estate.
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.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Letters are primarily from family members, artists, museum staff concerned with work in Egypt, and art patrons involved with Smith's charitable pageants. Correspondents include Cecilia Beaux, Frank Benson, George DeForest Brush, Isabella Stewart Gardner, and Denman Ross. There are scattered letters from Lawrence Alma-Tadema, Henry James, Charles G. Loring, Paul Manship, General John J. Pershing, John Singer Sargent, and Abbott Handerson Thayer.
See Appendix for a list of correspondents in Series 2
Appendix: Correspondents in Series 2:
Abbas, Abdul Baba, 1912
Abbott, Holker, 1917
Abdullah, Mohamed, 1938
Abingdon, The Countess of, 1940, 1941
Aldrich, Eleanor, 1940
Aldrich, J.B., 1896
Aldrich, William T., 1931
Alexander, L.G., 1894
Alma Tadema, Sir Lawrence, 1894
American Express Company, 1934
American Federation of Arts, 1940, 1941, 1942
American Red Cross, 1917, 1945, 1946
Baldwin, Florence, 1898
Baltimore Museum of Art, 1941, 1943
Bartlett, Frederic Clay, 1910
Bass, R.P. and Edith, 1932, 1932
Beaulieu, Elizabeth, 1943
Beaux, Cecilia, undated, 1899
Bennett, Esther, 1895, 1899
Bennett, Sophie, 1897, 1899, 1903
Benson, Eugene, undated
Benson, Frank Weston, 1899, 1943, 1945
Berenson, Bernard, 1897
Bey, Sahfik Ghorbal, 1948, 1949
Bey, A. Heikal, 1948, 1949
Bigelow, W. Sturgis, undated, 1893, 1901
Bittinger, Charles, 1950
Bliss, Robert Woods and Mildred, 1916, 1940
Boston Breeze, 1931
Bradley, Kate A., 1919
Breasted, Charles, 1931
Breckingham, Eugenia B., 1893, 1943
Brejant, Grace M., 1895
Brewster, Frederick and Margaret, 1936
Bridges, Styles, 1939, 1940
British War Relief Society, 1941
Brooklyn Museum, 1933, 1943
Brown family, undated, 1894, 1895, 1986, 1899
Brown, Frederick and Ida, 1894, 1895, 1896, 1897, 1900
Brown University, 1929
Brummer Gallery, Inc., 1937
Brush, George de Forest, 1894, 1895, 1896, 1897, 1898, 1935
Buck, Matilda S., 1897
Buffalo Fine Arts Academy, 1912, 1917
Burbank, Mr., 1943
Cabot, Arthur J. and Sally, 1896
Calhoun, Lucy, 1910
Cambridge: Superintendent of Schools, 1942, 1943
Carey, Arthur Astor, 1902
Carnegie Corporation of New York, 1931
Carnegie Institution of Washington, 1940, 1941, 1942
Carter, Mary Duncan, 1937
Cartland, Joseph, 1898
Chace, Lucretia G., 1909
Chandler, J.E., 1894
Chicago: Art Institute of Chicago, 1911
Chinese Republic, 1944
Churchill, Winston, 1901, 1945
Clements, Cyril, 1946
Coca Cola Company, 1943
Constable, William George and Olivia, undated, 1942, 1943, 1949
Taylor, William and Rebecca Smith, 1932, 1933, 1935, 1936, 1937, 1938
Teachman, Jessie, 1897, 1905
Thayer, Abbott Handerson, undated
Thayer, Abbott Handerson Thayer Memorial, 1941
Tobey, Charles W., 1939, 1942
Tomita, Kojiro, 1936, 1937, 1943, 1947
Turner, C.Y., 1902
Turner, Ross, 1896
Union League Club, 1918
United China Relief, Inc., 1944
United Nations Relief Fund, 1942
University Museum, University of Pennsylvania, 1931, 1943
Vanderbilt, Mrs. George and Cornelia, 1923
Vanelli, Caesar, 1929, 1930
Vaughan, Henry Goodwin, 1936
Volpi, Elia, 1903, 1904, 1905, 1907
von Pustau, Helene, 1895, 1899
Walters, Thorstina Jackson, 1929
Wang, Lucy C., 1944
War Finance Committee (New Hampshire), 1944
Warren, H. Langford, 1907
Warren, Harold B., 1931
Webster, Laurence and Edith, 1941
Webster, Sue, 1916
Weems, Katharine Lane, 1965
Wendelstadt, Baron Wendelstadt, 1894, 1896, 1897
Wheeler, Roy R., 1932, 1946
White, Elise, 1931
Whitman, Paul, undated, 1893, 1899, 1901, 1902
Willard, Belle, 1931
Williams, Ben Ames, 1928
Yale University, 1915, 1934
Yamanaka and Company, 1930, 1931
Young, Hugh H., 1941, 1942
Zatelli, H., 1897
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Joseph Lindon Smith papers, 1647-1965, bulk 1873-1965. Archives of American Art, Smithsonian Institution.
This series consists of the business and personal correspondence of Edith Gregor Halpert and the Downtown Gallery. For the most part, this series is general business correspondence concerning routine activities of the Downtown Gallery, including the American Folk Art Gallery and the Daylight Gallery, both operated by the Downtown Gallery on the same premises. Included are correspondence with clients, employees, other galleries, and colleagues concerning sales, loans, purchases, appraisals, and so forth; arrangements for shipping, framing, photography, reproduction permissions, and insurance; and gallery housekeeping and improvements, ordering of supplies, and other administrative concerns.
Also included is personal correspondence of Edith Gregor Halpert. There are letters and greeting cards from nieces, nephews, and other relatives; correspondence with longtime friends, including some who were art collectors, museum curators, or museum directors; and correspondence concerning upkeep and improvement of her Newtown, Connecticut, country home and entertaining there.
See Appendix A for a list of selected correspondents from Series 1
Arrangement note:
Letters (with enclosures) are arranged chronologically, with those of the same date alphabetized by name of correspondent; undated material is arranged alphabetically, followed by unidentified correspondents and letters bearing illegible signatures.
Box numbers provided in the Container Listing are approximate.
Appendix A: List of Selected Correspondents in Series 1:
Names and titles indicated in this list are those that appear on the letters. Where appropriate, terms have been standardized and cross-referencing provided. Because filing is not always consistent, researchers are advised to check both the name of an individual and the institution that he or she represented.
Abate Associates, Inc., 1956
Abbot and Land, 1965
Abbot, B. Vincent, 1944
Abbot, Bernice, 1957
Abbot, John E., 1945, 1948
Abbot Laboratories, 1950, 1952
ABC Employment Agency, 1951
Richard Abel and Co., Inc., 1968
Abendroth, Robert W., 1966-1967
Abercrombie and Fitch Co., 1962
Abilene Museum of Fine Arts, undated, 1949, 1954
Abingdon Square Painters, 1965
Abraham and Straus, 1930, 1960, 1965-1966, 1968
Abraham, Mae C., 1965
Abrahamsen, Mrs. David, 1962
Abramowitz, M., 1958
Harry N. Abrams, Inc., 1958-1960, 1965-1966, 1968-1969
"HemisFair '68," 1968 (see also: "International Exposition, HemisFair '68")
Hemmenway, Catherine C., 1961
Hemmingsen, R. V., 1963
Hemmingson, Victoria, 1965
Henderson, Hanford, 1960
Henderson, Priscilla A. B. (Mrs. A. I.), 1934-1955
Henderson, Ray, 1956
Hendrick, Mrs. James Pomeroy, 1961
Heninger, Helen, undated, 1963, 1969
Henquet, Roger, 1948, 1965
Henri, Robert, 1926-1927
Henry, David T., 1964
Henry, Helen (Mrs. Charles), undated, 1949
Henry, James F., 1958
Henry Street Settlement, 1958, 1962-1963
Hentschel, R. A. A., 1951-1954
Hepburn, Katharine, 1952
Herbert, Elmer, 1962
Herbert, James D., 1962
Herider, Ed. L., 1961
Heritage Gallery, 1960, 1964
Herman, Stanley, 1964
Herman, Vic, 1968
Herring, Audrey L., 1964
Herrington, Nell Ray (Mrs. A. W. S.), 1962, 1965
John Herron Art Institute, undated, 1934, 1949, 1951, 1953, 1957-1958, 1962-1964, 1967 (see also: Art Association of Indianapolis; Art School of the John Herron Art Institute)
Hertslet, G. Gordon, 1962, 1966
Hertz, Richard C., 1965
Hertzberg, Stuart E., 1967-1968
Heschel, Mrs. Abraham, 1961
Hess, Elaine Marie, 1965
Hess, Mrs. Thomas B., 1954
Hetzel, Margaret deL. (Mrs. Joseph L.), 1948
Hewitt, Ada M., 1953
Edwin Hewitt Gallery, 1953
Heydenryk, Henry, 1954, 1960, 1964
Heynick, Carla Marian, 1965
Hickok, M., 1958
Hiddens, Mrs. Earl, 1952
Hiersoux, Arne, 1966
Hi Fi/Stereo Review, 1960
High Museum of Art, 1950, 1955, 1961-1962, 1965-1968 (see also: Atlanta Art Association; Atlanta Art Association and High Museum of Art)
Highway Antique Shop, 1954
R. Hill and Son, Ltd., 1960
Hill, Ralph Nading, 1952, 1962
Hille, Elise B., undated
Hille and Curran, 1954
Hilleman, Alex L., 1956
Hiller, Paula, 1962
Hilles, Mrs. Frederick W., 1956
Hillman, Mrs. Joel, II., 1960
Hillside Hospital Clinic, 1949, 1953
Hillstrom, Richard L., 1958, 1962, 1964-1965
Hilltop Theatre, Incorporated, 1952
Hilsenrath, Yakov R., 1965
Hilson, Catherine [Katy] and/or John S., undated, 1958-1959, 1961-1966
Himel, Irving, 1963
Himmelsfarb, Samuel, 1955
Hines, Felrath, 1961
Hinkhouse, Inc., 1960, 1964
Hirsch, B., 1961
Hirsch, E. W., 1954
Hirschberg, J. Cotter, 1956
Hirschl and Adler Galleries, Inc., 1958, 1960, 1963-1965, 1968
Hirschland, Dr. and/or Mrs. F. H., undated, 1959
Hirschland, Paul Michael, 1945
Hirschburg, Mrs. Roy, undated
S. A. Hirsh Manufacturing Co., 1966
Hirshberg, Henrietta, 1961
Hirshhorn, Mrs. Arthur, 1960
Hirshhorn, Joseph H., 1946, 1948, 1951-1954, 1956, 1960, 1963, 1965
Joseph H. Hirshhorn Collection, 1959-1960, 1962-1963, 1965-1966
[incomplete; without signature], undated, 1953, 1961, 1967, 1968
Collection Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Collection Rights:
The Downtown Gallery records are owned by the Archives of American Art, Smithsonian Institution. Rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws. Prior to publishing information regarding sales transactions, researchers are responsible for obtaining written permission from both artist and purchaser involved. If it cannot be established after a reasonable search whether an artist or purchaser is living, it can be assumed that the information may be published sixty years after the date of sale.
Collection Citation:
Downtown Gallery records, 1824-1974, bulk 1926-1969. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing, microfilming and digitization of the microfilm of this collection was provided by the Henry Luce Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
