Search Results

Creator:

Chicago Society of Etchers  Search this

Names:

Chicago Society of Etchers  Search this

Botke, Cornelius, 1887-1954  Search this

Dalstrom, Gustaf O. (Gustaf Oscar), 1893-1971  Search this

Fabri, Ralph, 1894-1975  Search this

Jensen, John Paul, 1904-  Search this

Kappel, Philip  Search this

Kloss, Gene, 1903-  Search this

Pescheret, Leon Rene, 1892-1961  Search this

Sykes, Maltby  Search this

Extent:

0.6 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1933-1972

bulk 1940-1959

Scope and Contents:

Primarily correspondence and a scrapbook kept by several of the Society's secretaries including F. L. Thompson and James Swann. Correspondence mostly with members concerning activities, sales, and exhibitions. Several letters inquire about the status of the Society and whether it will continue. The scrapbook, 1937-1972 (bulk 1937-1948), contains exhibition catalogs and announcements, letters, annual bulletins, membership lists, handwritten minutes of Board of Directors' meetings which detail expenses, suggestions for exhibition venues, membership and activities. Added to the scrapbook is the 1972 certificate of dissolution of the Society. A few miscellaneous financial records, printed materials, and price lists complete the collection.

Among the correspondents are: Cornelius Botke, Gustav Dalstrom, Gene Kloss, Philip Kappel, Roi Partridge, Leon R. Pescheret, and Maltby Sykes, as well as local Chicago artists.

Arrangement:

Arranged into series by record type: I. Correspondence II. Scrapbook III. Financial material; chronological thereunder.

Biographical / Historical:

Art society; Chicago, Ill., organized 1910; dissolved 1972.

Provenance:

Donated 1996 by Peter Jensen, son of printmaker John Paul Jensen, the last secretary of the Chicago Society of Etchers, who retained the records of the Society after its dissolution.

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:

Etchers -- Illinois -- Chicago  Search this

Printmakers  Search this

Topic:

Etching -- Illinois -- Chicago  Search this

Etching -- 20th century -- United States  Search this

Etching, American  Search this

Function:

Arts organizations -- Illinois

Identifier:

AAA.chicetch

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98f02fa45-f510-40d8-9440-53e7f2ef6591

EDAN-URL:

ead_collection:sova-aaa-chicetch

Creator:

Chicago Society of Artists  Search this

Extent:

175 Items

Type:

Collection descriptions

Archival materials

Date:

1940-1967

Scope and Contents:

Applications for membership in the Chicago Society of Artists containing biographical data on the candidates; correspondence relating to membership acceptance or rejection and dues; letters of resignation from members; and forms listing members' works on display or for sale at the Chicago Society of Artists, Inc. Gallery. The membership applications and correspondence is arranged alphabetically by applicant.

Provenance:

The donor served as President of the Chicago Society of Artists from 1972 to 1984.

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.

Function:

Arts organizations -- Illinois

Identifier:

AAA.chicarti

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9971633b6-c036-4d1d-98d7-7240a2d75fea

EDAN-URL:

ead_collection:sova-aaa-chicarti

Creator:

Hannell, Hazel Johnson, 1895-2002  Search this

Names:

Century of Progress International Exposition (1933-1934 : Chicago, Ill.)  Search this

Chicago Society of Artists  Search this

Hannell, V. M. S., 1896-1964  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1934-1985

Summary:

The papers of Hazel Hannell measure 1.2 linear feet and date from 1934 to 1985. The papers focus on Hazel Hannell's and Vinol M. S. Hannell's careers in Chicago, Illinois and their participation with Chicago-area art groups. Found are forty-seven calendars published by the Chicago Society of Artists, some of which are annotated by the Hannells. Also found are scattered biographical materials, photographs, and clippings.

Scope and Contents:

The papers of Hazel Hannell measure 1.2 linear feet and date from 1934 to 1985. The papers focus on Hazel Hannell's and Vinol M. S. Hannell's careers in Chicago, Illinois and their participation with Chicago-area art groups. Found are forty-seven calendars published by the Chicago Society of Artists, some of which are annotated by the Hannells. Also found are scattered biographical materials, photographs, and clippings.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Hazel Hannell (1895-2002) was a painter, ceramicist, and activist in Indiana and Chicago, Illinois. Born Mary Hazel Johnson, she married printmaker V.M.S. (Vinol) Hannell. Together, the Hannells were active in the No-Jury exhibitions and the Chicago Society of Artists. The Hannells often worked together making furniture from their own and others' designs. They co-designed the interior of the Victor Vienna Cafe at the Century of Progress Exposition.

Provenance:

Donated 1986 by Hazel Hannell.

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:

Painters -- Illinois -- Chicago  Search this

Ceramicists -- Illinois -- Chicago  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women ceramicists  Search this

Citation:

Hazel Hannell papers, 1934-1985. Archives of American Art, Smithsonian Institution.

Sponsor:

Processing of this collection received support from the Smithsonian American Women's History Initiative.

Identifier:

AAA.hannhaze

See more items in:

Hazel Hannell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96cc866f8-b8bc-4fcc-8738-22c121891616

EDAN-URL:

ead_collection:sova-aaa-hannhaze

Creator:

Hobbs, Morris Henry, 1892-1967  Search this

Names:

Bromeliad Society  Search this

Chicago Society of Etchers  Search this

Louisiana Society of Etchers  Search this

New Orleans Art League  Search this

Arms, John Taylor, 1887-1953  Search this

Jacques, Bertha  Search this

Smith, Lyman B.  Search this

Extent:

4.7 Linear feet

Type:

Collection descriptions

Archival materials

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Date:

circa 1901-2014

Summary:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Scope and Contents:

The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Biographical material includes chronologies, biographical statements, and documentation on his home and studio. Correspondence includes letters to friends and family regarding art, travel, and botany. Of note are letters from the etchers John Taylor Arms and Bertha Jaques and botanist Lyman Smith. Writings consist of Hobbs' diary kept during World War I while serving in the U.S. Army, journal pages documenting his move to New Orleans, and garden notebooks. Professional files include documents relating to Hobbs' memberships and activities in the Bromeliad Society, Chicago Society of Etchers, Louisiana Society of Etchers, New Orleans Art League, and other organizations. Also included are exhibition records, price lists, and sales records.

Printed material includes clippings and exhibition announcements documenting his career as well as published versions of his etchings. Photographs and slides are of Hobbs, family and friends, trips abroad, and his properties in New Orleans and Mandeville, Louisiana. Artwork includes architectural renderings, sketches of Chicago, France, and New Orleans, and an annotated scrapbook containing original etchings. Four sketchbooks include figure drawings and landscapes in pencil and ink.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1918-2014 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1921-1993 (0.7 linear feet; Boxes 1 and 5)

Series 3: Writings, 1918-2014 (0.3 linear feet; Boxes 1-2)

Series 4: Professional Files, 1922-2014 (1.0 linear foot; Boxes 2-3)

Series 5: Printed Material, 1929-2014 (0.6 linear feet; Box 3)

Series 6: Photographs, circa 1901-1991 (0.6 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1919-1950s (0.3 linear feet; Boxes 4-5)

Series 8: Sketchbooks, 1930s-1950s (0.2 linear feet; Box 4)

Biographical / Historical:

Morris Henry Hobbs (1892-1967) was an etcher in Chicago and New Orleans. Hobbs was born in Rockford, Illinois, and raised in Chicago. As a teenager he took classes at the Art Institute of Chicago and at the age of 17 was hired as a draftsman at an architectural firm. From 1918-1919, he served in France with the Allied Expeditionary Force. While there he contracted influenza which resulted in the loss of his hearing. After the war he lived in Toledo, Ohio, with his wife and two daughters and worked at an architectural firm. He also learned printmaking techniques from etcher J. Ernest Dean and began exhibiting his work. In 1927, he returned to Chicago with his family and in 1930 became director of the Chicago Society of Etchers. During his career he was active in many arts and printmaking organizations.

In 1938, Hobbs traveled to New Orleans for an extended visit, opened a studio space, and began a ten-year project of etching French Quarter scenes. A year later he moved to New Orleans permanently and became the first president of the Louisiana Society of Etchers. In 1942, he married Alice "Judy" Seddon. In 1948, he was hired as a designer for the architectural firm Favrot, Reed, Mathes and Bergman, and was employed there until his death. Also at this time, he and his wife establish a country home in Mandeville, Louisiana, where he built a greenhouse and cultivated tropical bromeliads. They kept an apartment in the French Quarter as a weekday residence.

In 1960, Hobbs began a series of watercolors depicting bromeliads and in the subsequent years traveled to Costa Rica, Guatemala, and Trinidad to collect specimens for a potential book project. He died in 1967 at the age of 75 and that year the Reinike Gallery held a retrospective of his work. His wife Alice Seddon Hobbs died in 1993 at the age of 95.

Provenance:

Donated in 2014 by Reed Isbell-Hobbs, widow of Morris Henry Hobbs' son William Hobbs.

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.

Occupation:

Etchers -- Illinois -- Chicago  Search this

Etchers -- Louisiana -- New Orleans  Search this

Topic:

Gardening  Search this

World War, 1914-1918  Search this

Genre/Form:

Architectural drawings

Prints

Scrapbooks

Diaries

Photographs

Sketchbooks

Sketches

Citation:

Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hobbmorr

See more items in:

Morris Henry Hobbs papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9de90464b-25e1-4b52-880a-48b63a3caf5a

EDAN-URL:

ead_collection:sova-aaa-hobbmorr

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Names:

Bunker, John  Search this

Myers, Ella Price  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1976

bulk 1908-1960

Summary:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Scope and Contents:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Biographical materials include Myers' resume, letters that confirm some of the courses he studied and taught, one membership list and meeting minutes of the Carmel Art Association, notes from a Myers art lecture on Sante Fe, one sales ledger, and drafts and notes of "And The Glory," a biography on Myers written by his wife, Ella Price Myers. Correspondence is a mixture of personal and professional letters, shedding light on Myers' freidnships, personal and professional relationship with his wife, and his travels. Correspondents include artists Sheldon Dixie and Albert Berne, poet and advertiser John Bunker, Myers' nephew Sheldon, and his son Frank. The series also includes a map that of the United States on which Myers traced his sketching trips, 1926 to 1950, a cartoon by Herman Wessel, and clippings related to John Weis. Printed materials include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions, a series of advertisements illustrated by Myers, two lithographs of his artwork, and some exhibition ephemera. Artwork consists of childhood drawings by Myers of Native Americans, holiday themes, and portraits; later sketches, mostly in charcoal and pencil, include figure and portrait studies, city scenes, and several still lifes; one 1916 landscape painting by Myers, cloth with a linoleum block design, paint samples from Myers' studio, and small sketches and doodles drawn on scraps of paper. Photographic materials depict Myers' artwork, portraits of the artist, his family and friends, and his home in Pacific Grove.

A fair amount of the collection's files include notes with contextual information written by Ella Price Myers.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, 1891-1976 (Box 1; .2 linear feet)

Series 2: Correspondence, 1921-1973 (Box 1-2; 1 linear feet)

Series 3: Printed Materials, 1924-1963 (Box 2, OV 3; .5 linear feet)

Series 4: Artwork, circa 1908-1956 (Box 2, OV 4; .6 linear feet)

Series 5: Photographical Materials, 1910-1962 (Box 2; 4 folders)

Biographical / Historical:

Frank Harmon Myers (1899-1956) was an impressionist painter and art educator who lived in Cincinnati, Ohio, and Pacific Grove, California. Myers was born in Cleves, Ohio, and moved to Cincinnati around 1907. His interest in art took off prior to his teenage years, illustrating a series of body-length portraits of Native Americans, several landscapes, and art with holiday themes. Myers studied at the Art Academy of Cincinnati under Frank Duveneck, H. H. Wessel, and John Ellsworth Weiss; took a summer course at the Pennsylvania Academy of Fine Arts under Daniel Garber, Hugh Henry Breckenridge, and Joseph Thurman Pearson Jr.; and the School of Fine Arts at Fontainebleau, France, under Jean Despujols and Gourguet. Myers began showing his art at the Closson Galleries circa 1920 and taught at the Art Academy of Cincinnati from 1921 to circa 1941. In 1932, Myers spent a year on sabbatical in Sante Fe, New Mexico, painting animals, people, ranches and farms, villages, and landscapes. He and his wife, Ella Price Myers, moved to Pacific Grove, California, in 1940 so that Myers could pursue painting full-time. His work was frequently exhibited at the Carmel Art Association from this point onwards, with additional solo shows at Pebble Beach Galleries, San Jose State College, M. H. De Young Museum, Crocker Art Gallery, and others. Myers paintings were featured in group exhibitions at The Salon, Paris, Harlow Galleries, New York, St. Louis City Museum, Missouri, Alright Museum, New York, and more. Myers served as president of the Carmel Art Association in 1953.

Separated Materials:

The Archives of American Art also holds one scrapbook of Frank Myers publicity, circa 1925-1945, lent for microfilming on reel D42. Loaned materials were returned to Ella Price Myers and are not described in the collection container inventory.

Provenance:

The collection was donated by Ella Price Myers, Myers' widow, from 1960 to 1974. An addition was donated in 1994 by Myers' daughter-in-law Patricia Clarke Myers, ex-wife of Myers' only son Frank P. Myers.

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:

Educators -- Ohio -- Cincinnati  Search this

Landscape painters -- Ohio -- Cincinnati  Search this

Painters -- Ohio -- Cincinnati  Search this

Painters -- California -- Monterey  Search this

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.myerfran

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9077c2193-4a6b-4502-a980-af9b71db1d43

EDAN-URL:

ead_collection:sova-aaa-myerfran

Creator:

Artists' Gallery (New York, N.Y)  Search this

Names:

Albers, Josef  Search this

Altoon, John, 1925-  Search this

Baizerman, Eugenie, 1899-1949  Search this

Baizerman, Saul, 1889-1957  Search this

Barrer-Russell, Gertrude  Search this

Beer-Monti, Federica, b. 1876  Search this

Bowden, Harry, 1907-1965  Search this

Chafetz, Sidney  Search this

Feldman, Walter, 1925-2017  Search this

Fromboluti, Sideo, 1921-  Search this

Giobbi, Edward  Search this

Golub, Leon, 1922-2004  Search this

Grillo, John, 1917-  Search this

Johnson, Lester, 1919-2010  Search this

Kaldis, Aristodimos, 1899-1979  Search this

Kruger, Louise, 1924-  Search this

Leepa, Allen, 1919-2009  Search this

Loberg, Robert Warren, 1927-1999  Search this

Margo, Boris, 1902-1995  Search this

Margules, De Hirsh, 1899-1965  Search this

Meert, Joseph, 1905-1989  Search this

Smithson, Robert  Search this

Stix, Hugh  Search this

Tofel, Jennings, 1891-1959  Search this

Weissauer, Rudolf, 1924-  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1929-1967

Summary:

The Artists' Gallery records measure 6.6 linear feet and date from 1929 to 1967. The collection sheds light on the gallery's operations through adminstrative records, artist files, exhibition files, and printed material.

Scope and Contents:

The Artists' Gallery records measure 6.6 linear feet and date from 1929 to 1967. The collection sheds light on the gallery's operations through adminstrative records, artist files, exhibition files, and printed material.

Administrative records include correspondence, gallery daybooks, inventories, meeting minutes of the gallery's board of directors, and two essay drafts; financial records consist of accounting books, sales records, receipts, invoices, payments, and a ledger; and museum and gallery files include papers and correspondence related to exhibitions, loans of artwork, and shipments of artwork. Several photographs of staff, artists, and the gallery interior are found here as well.

Artist files include biographical information and correspondence between artists, Federica Beer-Monti, and Hugh Stix concerning exhibitions, artwork shipments, prices, and some personal matters. Some files also include photographs, exhibition catalogs and announcements, newspaper clippings, artist books, and price lists.

Exhibition files include price lists, correspondence, drafts of publicity material, visitor guestbooks, and lists of exhibitions and exhibiting artists. Printed material includes Artists' Gallery's brochures, flyers, and other mailings, exhibition announcements and catalogs, as well as gallery scrapbooks comprised of exhibition ephemera, newspaper clippings, and some photographs; an essay published by gallery founder Hugh Stix; exhibition material, newsletters, and miscellaneous publications from other museums and galleries; and books on artists Henri Gaudier and Beauford Delaney.

Arrangement:

The collection is arranged as four series.

Series 1: Administrative Records, 1936-1965 (Box 1-2, 7; 1.6 linear feet)

Series 2: Artist Files, 1929-1967, bulk 1936-1962 (Box 2-4, 7-8; 1.8 linear feet)

Series 3: Exhibition Files, 1936-1962 (Box 4, 7, OV 9; 1.1 linear feet)

Series 4: Printed Material, 1931-1967 (Box 5-7; 2.1 linear feet)

Biographical / Historical:

The Artists' Gallery was established by Hugh Stix in 1936 in New York City. The goal of this non-profit gallery was to provide unknown or little-known artists a space to exhibit their work to gain public notoriety or be taken up by a commercial gallery. Stix hired Federica Beer-Monti, an Austrian socialite who was friends and acquaintances with many European artists, as director of the gallery. The painters and sculptors exhibited by the Artists' Gallery were voted on and selected by a rotating committee. Exhibitions were given without charge to the artist, and artists received the entire sale price of their work if sold. Some notable artists who exhibited at the Artists' Gallery included Josef Albers, Saul and Eugenie Baizerman, Byron Browne, Louis Eilshemius, Ben-Zion, Aristodemos Kaldis, De Hirsh Margules, and Hans Boehler. The gallery discontinued operations in the summer of 1962.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Included are six letters, 1938-1939, from artist Louis M. Eilshemius to gallery director Federica Beer-Monti. Loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

The Artists' Gallery records were donated and lent for microfilming in several installments from 1967 to 1998. Material on reels D313 and 79 were donated from 1967 to 1968 by Federica Beer-Monti; and she lent the Louis M. Eilshemius letters on reel N737 in 1968. The unmicrofilmed portion was donated in 1974 by Beer-Monti's niece, Greta Shapiro, who also lent the logbooks on reel 1042 for microfilming in 1976. In 1998, Shapiro's widower, Aaron, donated the material lent on reel 1042.

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:

Artists -- United States  Search this

Gallery directors  Search this

Topic:

Art -- United States -- Exhibitions  Search this

Function:

Art galleries -- New York (State) -- New York

Citation:

Artists' Gallery Records, 1929-1967. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.artigall

See more items in:

Artists' Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw950d5668a-2076-4aaa-9769-3b5e9bbb7093

EDAN-URL:

ead_collection:sova-aaa-artigall

Creator:

Ruth White Gallery (New York, N.Y.)  Search this

Names:

Castanis, Muriel, 1926-2006  Search this

Gelb, Jan, 1906-1978  Search this

Kohlmeyer, Ida, 1912-1997  Search this

Seligmann, Kurt, 1900-1962  Search this

Skaling, Audrey  Search this

Extent:

7.1 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1933-1974

bulk 1956-1970

Summary:

The Ruth White Gallery records measure 7.1 linear feet and date from 1933 to 1974, with the bulk of the records dating from 1956 to 1970. Administrative records document the running of the gallery, and artist files shed light on the gallery's dealings with artists including Sylvia Bernstein, Jules Engel, Ida Kohlmeyer, Kurt Seligmann, Audrey Skaling, and many others.

Scope and Contents:

The Ruth White Gallery records measure 7.1 linear feet and date from 1933 to 1974, with the bulk of the records dating from 1956 to 1970. Administrative records document the running of the gallery, and artist files shed light on the gallery's dealings with artists including Sylvia Bernstein, Jules Engel, Ida Kohlmeyer, Kurt Seligmann, Audrey Skaling, and many others.

Administrative records include inventories, correspondence, provenance records, financial and shipping records, printed material, price lists, and photographs of artwork and exhibitions. Also found are gallery and museum files containing similar records, that document the gallery's relationship with other businesses and art institutions.

Artist files consist of biographical summaries and resumes, correspondence, some writings, price lists, invoices, exhibition ephemera, newspaper clippings, photographs of artwork, and scattered photos of artists.

Arrangement:

This collection is arranged as two series.

Series 1: Administrative Records, 1940-1974, bulk 1956-1970 (Box 1-3; 2.1 linear feet)

Series 2: Artist Files, 1933-1974, bulk 1956-1970 (Box 3-7, OV 8; 5 linear feet)

Biographical / Historical:

The Ruth White Gallery was established in 1956 near Central Park in New York City, and specialized in contemporary art. The gallery was affiliated with artists such as Muriel Castanis, Mildred Crooks, Jan Gelb, Ida Kohlmeyer, Ce Roser, Kurt Seligman, and Audrey Skaling. Kohlmeyer and Castanis had their first solo exhibitions at the gallery in 1959 and 1968 respectively, and Skaling and Kohlmeyer were both personal friends of Ruth White.

Separated Materials:

Material lent for microfilming on reel 34, Scrapbooks, 1956-1967, containing notices, clippings, and articles about artists represented by the gallery, was returned to the donor and is not described in the collection container inventory.

Provenance:

The collection was donated by the Ruth White Gallery between 1969 and 1975.

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.

Function:

Art galleries, Commercial -- New York (State) -- New York

Citation:

Ruth White Gallery records, 1933-1974. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.ruthwhit

See more items in:

Ruth White Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9345f61ba-f1c4-4bb0-85a7-877dfcf56dc9

EDAN-URL:

ead_collection:sova-aaa-ruthwhit

Creator:

Arthur U. Newton Galleries  Search this

Names:

Marsh, Reginald, 1898-1954  Search this

Newton, Arthur U. (Arthur Ulysses), 1892-1978  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1934-1962

Summary:

The Arthur U. Newton Galleries records measure 0.2 linear feet and date from 1934 to 1962. This small collection consists of correspondence, an exhibition announcement card, photographs of artwork and the gallery's interior, and a plate proof of The Pickwick Papers, illustrated by Frederick Banberry.

Scope and Contents:

The Arthur U. Newton Galleries records measure 0.2 linear feet and date from 1934 to 1962. The small collection's correspondence files include letters sent to collectors, museums, and art associations, a price list of paintings by Walter Howlison Mackenzie "Zarh" Pritchard, and sales records. Photographs in the collection depict the gallery's interior and artwork by Thomas Hart Benton, John Steuart Curry, Reginald Marsh, William Mosby, and Jose Clemente Orozco from the exhibition, An Art Commentary on Lynching (1935). Also included is an exhibition announcement and a plate proof of The Pickwick Papers by Charles Dickens, illustrated by Frederick Banberry.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Arthur U. Newton Galleries was founded in New York by Arthur U. Newton. Newton dealt and exhibited works by modern and early-modern artists by the 1930s. He represented the works of some contemporary artists, including Walter Howlison Mackenzie "Zarh" Pritchard; and held the first one-man exhibition for William Hekking. In conjunction with the NAACP and the College Art Association, Arthur U. Newton galleries held an anti-lynching art exhibition, An Art Commentary on Lynching (1935). The exhibition featured works by Isamu Noguchi, Thomas Hart Benton, José Clemente Orozco, and Reginald Marsh.

Provenance:

The collection was donated in 1962 by Arthur U. Newton.

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.

Function:

Art galleries, Commercial -- New York (State)

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.arthu

See more items in:

Arthur U. Newton Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw939ae2ee4-ed24-41fa-95ed-d73b0d77e6be

EDAN-URL:

ead_collection:sova-aaa-arthu

Creator:

Schneider-Gabriel Galleries (New York, N.Y.)  Search this

Names:

Gluckmann, Grigory, 1898-1973  Search this

Pach, Walter, 1883-1958  Search this

Stuart, Gilbert, 1755-1828  Search this

Extent:

0.9 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1918-1953

Summary:

The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Scope and Contents:

The Schneider-Gabriel Galleries records measure 0.9 linear feet and date from 1918 to 1953. The collection is comprised mostly of photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century. The collection also includes correspondence relating to the sale, conservation, and legitimacy of the New York gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

Schneider-Gabriel Galleries was an art gallery in New York, New York, started circa 1938 by art dealers Albert Schneider and Gilbert Gabriel. Before starting their own business, Schneider and Gabriel worked with John Levy of John Levy Galleries in New York in the 1920s. Schneider-Gabriel exhibited and dealt paintings, mostly portraits and landscapes, by well-known European artists from the 13th to 20th centuries as well as a number of American artists from the 19th and 20th centuries. Artists whose work was sold and exhibited by Schneider-Gabriel include Walter Pach, Winslow Homer, Alexander Canedo, Gilbert Stuart, Jean-Baptiste-Camille Corot, and among many others.

Provenance:

The collection was donated circa 1958 by the widow of Albert Schneider.

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.

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.

Function:

Art galleries, Commercial -- New York (State)

Citation:

Schneider-Gabriel Galleries records, 1918-1953. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.schngall

See more items in:

Schneider-Gabriel Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9326ea1d8-3ec3-4aa0-9fc5-a43e952572d9

EDAN-URL:

ead_collection:sova-aaa-schngall

Collection Creator:

Schneider-Gabriel Galleries (New York, N.Y.)  Search this

Extent:

0.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1918-1953

Scope and Contents:

Photographs of paintings that span the European and American continent, dating from the 13th century to the mid-20th century; correspondence relating to the sale, conservation, and legitimacy of the gallery's artwork; a folder of papers concerning the immigration of artist Grigory Gluckmann and his wife, Anna, to the United States in 1941; financial records comprised of scant bills, checks, and statements; the catalog draft from a Walter Pach exhibition; and correspondence, printed material, and provenance records concerning portraits of George Washington by Gilbert Stuart.

Collection 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.

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:

Schneider-Gabriel Galleries records, 1918-1953. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.schngall, Series 1

See more items in:

Schneider-Gabriel Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98e155612-fd0e-422c-83ec-5b218dacec7e

EDAN-URL:

ead_component:sova-aaa-schngall-ref7

Collection Creator:

Schneider-Gabriel Galleries (New York, N.Y.)  Search this

Container:

Box 1, Folder 1

Type:

Archival materials

Date:

undated

Collection 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.

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:

Schneider-Gabriel Galleries records, 1918-1953. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Schneider-Gabriel Galleries records

Schneider-Gabriel Galleries records / Series 1: Administrative Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95a884431-1dd0-408f-98f8-b8b7ea1e4f0f

EDAN-URL:

ead_component:sova-aaa-schngall-ref8

Creator:

New Arts (Art gallery)  Search this

Names:

Bess, Forrest, 1911-1977  Search this

Boynton, Jack, 1928-2010  Search this

Calcagno, Lawrence, 1913-  Search this

Cornell, Joseph  Search this

Emmerich, André  Search this

Ernst, Max, 1891-1976  Search this

Kuhlman, Walter  Search this

Plagens, Peter  Search this

Smith, Hassel, 1915-2007  Search this

Steinberg, Richard  Search this

Varda, Jean  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1950-1979

Summary:

The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through correspondence, exhibition files, printed material, artists' files, and more.

Scope and Contents:

The New Arts records measure 1.3 linear feet and date from 1950 to 1979. The collection sheds light on the gallery's operations through administrative records and artists' files. Administrative records include artwork authentification records, correspondence with museums, galleries, and private collectors, exhibition files, ephemera from exhibitions held elsewhere, and editions of the Contemporary Arts Council calendar. Artists' files consist of correspondence, price lists, photos of artwork and installations, exhibition ephemera, reviews, some resumes, and more. Artists covered include Forrest Bess, James Boynton, Lawrence Calcagno, Joseph Cornell, Max Ernst, Walter Kuhlman, Peter Plagens, Hassel Smith, Richard Steinberg, and Jean Varda.

Arrangement:

The collection is arranged as two series.

Series 1: Administrative Records, 1952-1970 (Box 1; .4 linear feet)

Series 2: Artists' Files, 1950-1979 (Box 1-2, OV 3; .9 linear feet)

Biographical / Historical:

The New Arts was founded in 1956 in Houston, Texas by Kathryn Swenson. The gallery was initially established to exhibit and sell pre-Columbian artwork, the bulk of which came from Andre Emmerich's private collection. Swenson asked friend and museum specialist Jermayne MacAgy to help with the exhibition display, and then sometime in the next two years, the gallery began to show established local artists. Pre-Columbian shows persisted throughout The New Arts' existence, but the gallery shifted its focus towards exhibiting a wide range of contemporary painters and sculptors by the late 1950s. Artists exhibited at The New Arts include Jack Boynton, Forest Bess, Hassel Smith, Max Ernst, Walter Kuhlman, Lawrence Calcagno, Joseph Cornell, Peter Plagens, and Jean Varda.

The New Arts closed in 1974.

Related Materials:

Also found in the Archives of American Art is an oral history interview with Marc Moldawer, Kathryn Swenson, and Robert Wilson conducted by Sandra Curtis Levy, August 15, 1984.

Provenance:

The collection was donated in 1979 by gallery owner and director Kathryn Swenson.

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.

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.

Function:

Art galleries, Commercial -- Texas

Citation:

The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.newarts

See more items in:

The New Arts records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a39948fd-d2c8-40d2-b43e-791a3938ecb6

EDAN-URL:

ead_collection:sova-aaa-newarts

Collection Creator:

New Arts (Art gallery)  Search this

Extent:

.9 Linear feet (Box 1-2, OV 3)

Type:

Archival materials

Date:

1950-1979

Scope and Contents:

Found here is correspondence, price lists, photos of artwork and installations, exhibition ephemera, reviews, and scant resumes. Sketches made by Hassell Smith and one print by Max Ernst are also present.

Collection 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.

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:

The New Arts records, 1950-1979. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.newarts, Series 2

See more items in:

The New Arts records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f56206ed-af6a-4134-9b1d-a9164a622b34

EDAN-URL:

ead_component:sova-aaa-newarts-ref27

Creator:

Louis Alexander Gallery (New York, N.Y.)  Search this

Names:

Coates, Ross  Search this

Copley, Alfred L.  Search this

DuBack, Charles S., 1926-  Search this

Packard, David, 1928-1968  Search this

Rabkin, Leo  Search this

Extent:

0.4 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1953-1963

Summary:

The Louis Alexander Gallery records measure 0.4 linear feet and date from 1953 to 1965. The collection contains one exhibition file and artist files for Alfred Copley, Ross Coates, Charles S. DuBack, William Giles, David Packard, Leo Rabkin, and Athos Zagharias. Materials include correspondence, printed material, biographical summaries, photographs of artwork, and some exhibition ephemera.

Scope and Contents:

The Louis Alexander Gallery records measure 0.4 linear feet and date from 1953 to 1965. The collection contains one exhibition file and several artist files.

The exhibition file consists of correspondence, lists, and printed material. Artist files contain biographical material, scant correspondence, clippings, images of artwork and artists, and more on artists Alfred Copley, Ross Coates, Charles S. DuBack, William Giles, David Packard, Leo Rabkin, and Athos Zagharias.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Louis Alexander Gallery was founded by Louis Alexander Cohn in the Lenox Hill neighborhood of New York, New York. Paul Cummings served as the gallery's co-director in the early 1960s. The dates of the gallery's existence are unknown. In 1962 the gallery held a large exhibition, Recent American Drawings, which included artwork from Willem de Kooning, Milton Avery, Roy Lichtenstein, Andy Warhol, and many others. Additionally, the gallery held solo shows for Leo Rabkin (1962), Alfred Copley (1962), Charles DuBack (1962), Ross Coates (1963), Athos Zacharias (1963), and William Giles (1962).

Provenance:

The collection was donated by Paul Cummings, former co-director of Louis Alexander Gallery, in 1971.

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.

Function:

Art galleries, Commercial -- New York (State) -- New York

Citation:

Louis Alexander Gallery, 1953-1963. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.louialex

See more items in:

Louis Alexander Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9311696ba-9776-41ed-b466-b22ef7de9548

EDAN-URL:

ead_collection:sova-aaa-louialex

Creator:

Pierre Matisse Gallery (New York, N.Y.)  Search this

Names:

Artigas, Francisco, 1916-  Search this

Balthus, 1908-  Search this

Butler, Reg, 1913-1981  Search this

Chagall, Marc, 1887-1985  Search this

Dubuffet, Jean, 1901-1985  Search this

Giacometti, Alberto, 1901-1966  Search this

Hantaï, Simon  Search this

MacIver, Loren, 1909-1998  Search this

Mason, Raymond, 1922-  Search this

Matisse, Pierre, 1900-1989  Search this

Millares, Manolo, 1926-1972  Search this

Miró, Joan, 1893-  Search this

Riopelle, Jean Paul  Search this

Roszak, Theodore, 1907-1981  Search this

Rouan, François, 1943-  Search this

Saura, Antonio, 1930-  Search this

Tanguy, Yves, 1900-1955  Search this

Zao, Wou-ki, 1920-2013  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1936-1988

Summary:

The Pierre Matisse Gallery printed material measures 1.2 linear feet and dates from 1936 to 1988. The collection consists of exhibition catalogs from group and solo shows held at the gallery, an offer for a limited edition Joan Miro album, and several books on artists.

Scope and Contents:

The Pierre Matisse Gallery printed material measures 1.2 linear feet and dates from 1936 to 1988. The collection consists of exhibition catalogs from group and solo shows held at the gallery, an offer for a limited edition Joan Miro album, and several books on artists that were completed in conjunction with the gallery. Catalogs of exhibiting solo artists include Reg Butler, March Chagal, Jean Dubuffet, Manolo Millares, Joan Miro, Jean-Paul Riopelle, Balthus, Yves Tanguy, and Francois Rouan. Group show catalogs include several from the duo Joan Miro and Jose Artigas (1956, 1963, 1985), Four Painters: Faucher, Hantai, Rouan, Viallat (1974), and Paintings from Paris (1946). Also present is a catalog from the gallery's exhibition of African sculptures, Sculpture of the Tallem and the Dogon (1960).

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Biographical / Historical:

The Pierre Matisse Gallery was founded in New York, New York, in 1931 by Pierre Matisse, youngest son of the French painter Henri Matisse. The gallery was located on the corner of Madison Avenue and fifty-seventh street in the Fuller Building, which had recently been built in the Art Deco style a few years prior. Matisse exhibited primarily European painters and sculptors, including Joan Miro, Marc Chagall, Jean Dubuffet, Yves Tanguy, Balthus, and some U.S. artists Leonora Carrington, Alexander Calder, and many more. The gallery closed in 1989 upon Pierre Matisse's death.

Related Materials:

The Pierpont Morgan Library is the primary repository in possession of the Pierre Matisse Gallery records.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming on reel NPM1. Included are catalogs of Pierre Matisse Gallery exhibitions, 1931-1945; photographs of exhibitions interspersed among the catalogs; and a scrapbook containing clippings and reviews of shows at the gallery. This material was returned to the lender and is not described in the collection container inventory.

Provenance:

Records on reel NPM1 were lent for microfilming in 1967 by the Pierre Matisse Gallery. The unmicrofilmed materials were donated in 1996 by the Pierre Matisse Foundation.

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.

Topic:

Art, Modern -- 20th century -- United States  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Pierre Matisse Gallery Printed Material, 1936-1988. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.piermati

See more items in:

Pierre Matisse Gallery printed material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a0e8c1c8-5634-4511-8927-ccc1ca4e2caa

EDAN-URL:

ead_collection:sova-aaa-piermati

Creator:

Owen Gallery  Search this

Names:

Benton, Thomas Hart, 1889-1975  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Glackens, William J., 1870-1938  Search this

Henri, Robert, 1865-1929  Search this

Kuniyoshi, Yasuo, 1889-1953  Search this

Lawson, Ernest, 1873-1939  Search this

Luks, George Benjamin, 1867-1933  Search this

Owen, Michael  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Shinn, Everett, 1876-1953  Search this

Sloan, John, 1871-1951  Search this

Yost, James  Search this

Extent:

9.4 Linear feet

0.093 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Date:

1929-2010

bulk 1980-2010

Summary:

The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibition files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.

Scope and Contents:

The records of Owen Gallery measure 9.4 linear feet and 0.093 GB and date from 1929-2010, bulk 1980-2010. The gallery, which operated from 1986 to 2009 in New York, specialized in late nineteenth and early twentieth century American art with an emphasis on The Eight, Ashcan, and early American modernism. Artists represented include Thomas Hart Benton, Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, John Sloan, and others. Michael Owen and James Yost owned and directed the gallery. Found within the records are exhibitions files; inventory and sales records; printed and digital material; and records regarding painter Yasuo Kuniyoshi. Material dating from before 1986 when the gallery was established is research related to an artwork's provenance.

Arrangement:

The collection is arranged as four series

Missing Title

Series 1: Exhibition Files, 1989-2010 (2.1 linear feet; Box 1-3, 0.001 GB; ER01)

Series 2: Inventory and Sales Records, 1929-2010, bulk 1980-2010 (5.7 linear feet; Box 3-8, 0.092 GB; ER02-ER04)

Series 3: Printed Material, 1994-2008 (0.4 linear feet; Box 8-9)

Series 4: Records Regarding Yasuo Kuniyoshi, circa 1955-2000 (1.2 linear feet; Box 9-10)

Biographical / Historical:

Owen Gallery, a New York gallery specializing in late nineteenth and early twentieth century American art, operated from 1986 to 2009 and was owned and directed by Michael Owen and James Yost. The gallery represented many artists associated with The Eight, Ashcan, and American modernism. Although exhibitions and the retail gallery have closed, the business remains in operation.

Provenance:

The Owen Gallery records were donated to the Archives of American Art in 2015 and 2016 by Michael Owen and James Yost.

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.

Topic:

Art, American -- 19th century  Search this

Art, American -- 20th century  Search this

Art, Modern -- United States  Search this

Ashcan school of art  Search this

Eight (Group of American artists)  Search this

Function:

Art galleries, Commercial -- New York (State)

Citation:

Owen Gallery records, 1929-2010, bulk 1980-2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.owengall

See more items in:

Owen Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ca1b312c-5c58-4f00-9b5f-2605bed6e111

EDAN-URL:

ead_collection:sova-aaa-owengall

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

McIntyre, Robert G. (Robert George), b. 1885  Search this

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

Scope and Content Note:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.

Arrangement:

The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)

Historical Note:

The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.

Related Material:

Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.

Provenance:

The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.

Restrictions:

Use of 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.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

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.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46

EDAN-URL:

ead_collection:sova-aaa-macbgall

Collection Creator:

Macbeth Gallery  Search this

Extent:

11.8 Linear feet (Boxes 96-110)

Type:

Archival materials

Date:

1892-1956

Scope and Contents note:

This series provides a detailed record of the gallery's financial transactions through a variety of ledgers and account books. Although they lack systematic indexing and are somewhat awkward to use, these records provide an intriguing insight into art buying and collecting tendencies throughout the first half of the twentieth century. They also record the effect of fluctuations in the economy including, of course, the devastating Depression of the 1930s. Records in this series can be used more effectively in conjunction with the card files in Series 3: Inventory Records.

A large account book found here contains records dating from ca. 1918 to the 1930s with entries arranged alphabetically by the name of the person, corporate body or function (such as "Accrued Salaries") to which each account applies. The book lists the dates and descriptions of transactions along with debits, credits and balances on accounts. Each alphabetical letter group is preceded by an index of accounts that fall in that section of the alphabet.

Information regarding commissions and commission credits due to artists, businesses or individuals is recorded in three sets of volumes: Artist Credit Books; Purchase Books and Commission Credits; and Artist Commissions, Commission Credits and Purchases. Artist Commissions, Commission Credits and Purchases combine information that was previously contained in the other two types of ledgers. Details of purchases and commissions are arranged chronologically. There are also two unidentified volumes filed here as Artist Registers which appear to record information related to framing dating from ca. 1924 to 1954. The registers are arranged chronologically and then list artists as well as titles and dimensions of artwork and dates received.

Bills and statements consist of copies of outgoing bills and statements from the gallery and are arranged chronologically by year and alphabetically within those years

Cash Books provide a chronological list of cash transactions and Charge Books, also known as "Order Books" and "Sales Books," contain lists of charges for merchandise and order registers and are arranged chronologically. Miscellaneous incoming bills are arranged chronologically by year and alphabetically by client within each year. Many of the bills were previously folded together with brown paper labels which have been transferred to the folders preceding the records to which they apply.

One item of particular note is a small untitled notebook summarizing annual sales figures from 1892 to 1935. The notebook clearly shows the ongoing economic collapse of the 1930s with annual sales plummeting from $487,283.62 in 1929 to $92,659.02 in 1933.

The series also contains records of conisgnments from 1933 to 1951 and shipping records from the 1930s to the 1950s.

Arrangement note:

In general, financial records are arranged chronologically and then alphabetically by client.

Collection Restrictions:

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.

Identifier:

AAA.macbgall, Series 2

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92accb845-8924-4052-883e-bca749fd2934

EDAN-URL:

ead_component:sova-aaa-macbgall-ref11356

Collection Creator:

Macbeth Gallery  Search this

Container:

Box 97, Folder 2

Type:

Archival materials

Date:

1930-1938

Collection Restrictions:

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.

See more items in:

Macbeth Gallery records

Macbeth Gallery records / Series 2: Financial and Shipping Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9675941ba-3a86-4c05-8608-3c3a11380c39

EDAN-URL:

ead_component:sova-aaa-macbgall-ref11360

Collection Creator:

Macbeth Gallery  Search this

Container:

Box 98, Folder 1

Type:

Archival materials

Date:

1892-1910

Collection Restrictions:

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.

See more items in:

Macbeth Gallery records

Macbeth Gallery records / Series 2: Financial and Shipping Records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c431dea4-1bee-4cdb-8590-e8e8fa2cc1d5

EDAN-URL:

ead_component:sova-aaa-macbgall-ref11361