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.
Collection Rights:
Max Spoerri interview: Authorization to quote or reproduce for purposes of publication requires written permission from Max Spoerri. 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:
Hans Hofmann papers, circa 1904-2011, bulk 1945-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by 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.
Moderated by Ron Morosan, with speakers James Carroll and Charles Kessler.
Collection 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.
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:
Artists Talk on Art records, circa 1974-2018. Archives of American Art, Smithsonian Institution.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. 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.
Collection Citation:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
Esther Bear Gallery (Santa Barbara, Calif.) Search this
Container:
Box 2, Folder 6
Type:
Archival materials
Date:
1965-1966
Collection 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.
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:
Esther Bear Gallery records, 1928-1985. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Women's Committee.
The papers of Irma Engel Grabhorn, 1941-1991 contains a subject file on Carl Hofer that consists of one hundred twenty-one letters from Carl Hofer to Grabhorn, who had been his student, and a printed speech by Hofer concerning an exhibition opening in Frankfurt. Letters are from friends and colleagues, discussing Grabhorn's career as a painter and art patron, and her interest in painter Hans Thoma and the activities and prizes named for him. Other material includes receipts, notes, clippings, an exhibition catalog for Thoma, programs, and four photographs of a house and an unidentified art work.
Collection 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.
Collection Citation:
Irma Engel Grabhorn papers, 1945-1991. Archives of American Art, Smithsonian Institution.
This series contains correspondence with family members such as Max Bohm's wife Zella and his daughter Esther, as well as professional correspondence with art patron Mary Beecher Longyear and various art dealers.
Arrangement:
This series is arranged as 2 subseries.
Missing Title
2.1: Family correspondence, 1880-1955
2.2: Professional Correspondence, 1895-1931
Collection 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.
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:
Max Bohm papers, 1873-1970, bulk 1880-1959. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Project files include materials related to special events and charity benefits in which the gallery took part, such as the Plaza de la Raza Exhibition benefit, the UNICEF benefit, and the Young Art Patrons group, among others.
Arrangement:
Project files are arranged by alphabetically by project.
Collection 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.
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:
Ankrum Gallery records, circa 1900-circa 1990s, bulk 1960-1990. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund
This series documents Mary Fanton Roberts' art-related activities and memberships, as well as friendships with painters, sculptors, photographers, art patrons, art critics, and wives of artists. Folders may contain a variety of material on the subject, including letters, invitations, photographs, artwork, programs, catalogs, news clippings, and other printed material. Topics included in the correspondence range from invitations to art events, thanks for publishing articles in her magazines, accounts of travels abroad, and other general news.
Roberts was friends with many prominent artists from the early twentieth century and a small amount of their correspondence is found here, including Ashcan school artists Robert Henri, John Sloan, George Bellows, and William Glackens. Other correspondence of note is with sculptors George Gray Barnard, Gutzon Borglum, painters Ben Ali Haggin, Leon Kroll, W. Goodridge Roberts, Nicholas Roerich, and Pierre Troubetzkoy, as well as illustrator Oliver Herford. Much of the correspondence is also with the artists' wives. Additional significant correspondence is with Belle da Costa Greene, librarian for J. P. Morgan, and art writer Edward Alden Jewell. Items of note in this series include illustrated cards and letters from Edward Caswell, F. Luis Mora, and Ethel Myers, photographs of Frederic Remington and Bessie Potter Vonnoh, eleven small watercolor American Indian scenes by Edwin Deming, three etchings by John Sloan, and an essay by Gustav Stickley (located in The Craftsman folder). Within each folder, correspondence is arranged before other materials. Additional invitations to art related events can be found in series 7, General Correspondence.
Collection 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.
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:
Mary Fanton Roberts papers, 1880-1956. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
Worthington Whittredge, New York, 2 February 1879, to Andrew Varick Stout Anthony (1835-1906), American wood engraver.
New York, 28 December 1868, to Samuel A. Coale Jr., St. Louis.Whittredge writes to Coale, a St. Louis merchant and arts patron, apologizing that the little picture Coale recently purchased, a scene in the Lebanon Valley, New York, was not ready to be shipped as a Christmas present to this wife, due to damage sustained to the frame, but it will arrive before New Year's day. He explains that since the price charged was well below cost, Coale will have to pay for the expense of the frame, as well as the boxing and shipping. The picture is a little dry in places, so Whittredge advises Coale to take it out of its frame and spread boiled linseed oil evenly over the surface, in preference to varnish, as the work is displayed under glass.
Collection 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.
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:
Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, 1794-1983. Archives of American Art, Smithsonian Institution.
This series contains the personal and business correspondence of George Grey Barnard until his death in 1938. Later correspondence consists of the incoming and outgoing correspondence of Barnard's son, Monroe Grey Barnard, mostly in connection with his father's estate and in letters to art historian and Barnard scholar, Harold E. Dickson.
Correspondents include art and antiques dealers, museum directors, curators, and galleries, as well as individuals whom Barnard identified as 'prospects' for either his own sculptural projects or medieval antiquities in his collection. Frequent correspondents include art and antiques dealers M. Dagras et Fils, C. Joret, Ste. Galleries Schutz, D.W. French and Co.; museum directors Edward Forbes (Fogg Art Museum, Harvard Univesity), Robert DeForest (Metropolitan Museum of Art), Fiske Kimball (Philadelphia Museum of Art); and art patrons Arthur M. Huntington and John Gellatly. Handwritten drafts and typed copies of Barnard's outgoing letters are scattered throughout.
Of particular interest are the letters from the early to mid-1920s, the period during which he was trying to sell the medieval art and architectural elements that made up the George Grey Barnard Cloisters. Individuals wrote with proposals, such as artist Calthea Vivian, who hoped to find a home for the collection in California. Museums that expressed interest include the Toledo Museum of Art. Ultimately the collection was purchased by the Metropolitan Museum of Art, with funds provided by John D. Rockefeller. The 1925 folder contains letters providing details concerning the sales agreement.
Correspondence that post-dates Barnard's death in 1938 includes his son's correspondence with various individuals and institutions concerning his father's estate and the remaining collection of medieval art and architectural elements, which was known as 'The Monastery' or 'The Abbaye.' There is significant correspondence with representatives of the National Cathedral regarding moving the collection to Washington, D.C. However, no correspondence was found relating to the Philadelphia Museum of Art's subsequent acquisition of the bulk of the collection. There is also significant personal correspondence between Monroe and his mother (Edna Monroe Barnard), primarily typed copies of his outgoing letters.
See Appendix for a list of notable correspondents from Series 2
Arrangement note:
Correspondence is arranged chronologically. A file of undated letters and another that contains a typed list of telegrams and telephone calls has been placed at the end.
Appendix: Notable Correspondents from Series 2:
A. Charnoz Antiquaire, 1925
Albert L. Morse and Sons Antiquities, 1925
Allen, Collens, and Willis Architects, 1934
American Museum of Natural History, 1918
Anderson Galleries, 1927
Andr Seligmann, 1929
Arnold Seligmann et Fils, 1927
Arthur S. Vernay, Inc., 1923
Bacri Frres, 1925
Ball, D.C., 1916
Barnard, Monroe, 1938, 1941-1942, 1953 and undated
Billikopf, Jacob, 1926
Bird, Hobart S, 1929
Bloomingdale, Hiram, 1924
Brooklyn Museum of Art, 1938
Buffalo Fine Arts Academy, 1937
C. Hendel and Sons, 1938
C. Joret Antiquities, 1925, 1938, 1939 and undated
C.M. Traver Co., 1925
Carnegie Institute, 1923
Charbon Anglais, 1914, 1916
Chicago Institute of Art, 1920
Cleveland Museum of Art, 1915, 1935
Columbia University, Teachers College, 1922
Commission of Fine Arts, Washington, D.C., 1956
Commissioner of Fairmont Park, Philadelphia, Penn., 1926
Conference on the Cause and Cure of War, 1925
Coolidge Shepley Bulfinch and Abbott Architects, 1926
Cram and Ferguson Architects, 1919, 1926
DeForest Bros., 1925
Denton, Christine, 1918, 1920-1921 and undated
Doll and Richards Fine Arts, 1920-1921
duPont, Pierre S., 1939
E and A Silberman, 1927
E. Larcade Objects d'Art Ancien, 1925
E. Simon, 1927, 1932
Elmer Grey Architect, 1931, 1937
Fine Arts Federation of New York, 1938, 1940
Ford Motor Company, 1938
Franklin Spier, 1925
Freeman, James E (Bishop of Washington D.C.), 1940
Metropolitan Museum of Art, 1912, 1924-1927, 1930, 1935, 1937, 1957
Midway Studio (Lorado Taft), 1924
Morris, Ruth, 1962-1964
Moss, Col. James A., 1920
Museum of Fine Arts (Boston, Mass.), 1919, 1921, 1927, 1935
Museum of Newark, New Jersey, 1928
Myers, Clarance J., 1938
Nelson Gallery of Art (William Rockhill), 1938
Norris, Gertrude, 1933
North Carolina Historical Society (R.D.W. Connor), 1911-1913
P. Jackson Works of Art, 1925
P.W. French and Co., 1928
Paris Singer, 1926
Parrot, William, 1936
Paul Gouvert, 1925
Pennsylvania Museum of Art (later Philadelphia Museum of Art), 1926-1930, 1937
Philadelphia Museum of Art, 1955-1956
Rockefeller Jr., John D, 1927-1928, 1938
S. Marchat, 1925
Saint-Georges Art Gallery, 1925
Simon and Co., 1929
Sparks, William Sheppard, 1938
Spreckels, Alma de Bretteville, 1920
Ste. Galeries Schutz, 1927-1929
Thaw, Elsa Dows, 1915-1916
Thomas, Joseph B., 1922
Thompson, A., 1899
Toledo Museum of Art, 1922
United States Department of the Interior, 1957-1958
United States Department of State, 1913-1914
University of Illinois, College of Fine and Applied Arts, 1937
Vivian, Calthea, 1922-1924
Wadsworth Atheneum , 1938
Washington National Cathedral (formerly Washington Cathedral), 1922
Waterman, F.D., 1923
Wildhaber, A. Paul, 1921-1922
Wilson, William H., 1922
Worcester Art Museum, 1927
Collection Restrictions:
Use of original papers requires an appointment.
Collection Rights:
The George Grey Barnard papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
George Grey Barnard papers, circa 1860-1969, bulk 1880-1938. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by 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.
Correspondence is the largest series within the collection and contains both Kroll's personal and professional correspondence. There is correspondence with many fellow New York and European artists, including members of the social realist and ashcan schools of painting and artists he met on his travels and participation in national and international art organizations and committees. There is also correspondence with students and publishers, requests for Kroll to teach, lecture, or write articles, and business correspondence regarding exhibitions, sales, donations, and commissions. A small amount of correspondence is in French.
Artists that Kroll corresponded with include John Taylor Arms, Gifford Beal, George Bellows, Edwin Blashfield, George Biddle, Isabel Bishop, Marc Chagall, Arthur Covey, Randall Davey, Sonia Delaunay, Edwin Dickinson, Barry Faulkner, Ernest Fiene, Joseph Floch, William Glackens, Ellen Day Hale, Samuel Halpert, Robert Henri, Joseph Hirsch, Robert and Edward Hopper, Berthe Koch, Yasuo Kuniyoshi, Richard Lahey, Paul Manship, Ezio Martinelli, William McKillop, Gari Melchers, Hobart Nichols, Henry Schnakenberg, John Sloan, Raphael Soyer, Eugene Speicher, Maurice Sterne, Stuyvesant Van Veen, Hutton Webster, Esther Williams, Hamilton Wolf, and Andrew Wyeth, among many others.
Kroll also corresponded with many art historians and critics, curators, and gallery owners, such as Arthur Byne, Alfred Churchill, Frank Rehn, and Louis Stern, and several art patrons and collectors such as J. S. Carpenter, Etta Cone, Aldus Higgins, Julius Lempert, and Carl Weeks.
A large amount of the correspondence found here is Leon Kroll's professional correspondence with arts organizations, clubs, and committees in which he participated. These include the American Society of Painters, Sculptors, and Gravers; Artists Equity Association; Municipal Art Committee of New York; National Academy of Design; and the National Institute of Arts and Letters, and many others. These files may contain copies of letters between other members, press releases, printed material, meeting minutes, or memos Kroll sent to members. Also found is correspondence with arts administrators regarding federal government art projects and funding, including Edward Bruce, Forbes Watson, and Edward Rowan.
A significant amount of family correspondence, particularly from Leon Kroll to his sister Tess Pergament and mother Harriet Kroll are found in the 2019 additions.
Arrangement note:
In general, letters are filed alphabetically by person or corporate name. Names with five or more letters are filed in their own folders, and the remainder of correspondence is filed in miscellaneous files. Selected correspondents whose names do not appear in headings are indicated in a note following the folder heading. Some correspondence with individuals may also be filed according to the name of the organization with which they were associated. Where they exist, Kroll's outgoing letters are interfiled with incoming letters.
This series has been scanned in its entirety except for the 2019 addition.
Collection 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.
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:
Leon Kroll papers, circa 1900-1988. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
