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Philip Leslie Hale papers

Creator:
Hale, Philip Leslie, 1865-1931  Search this
Names:
Panama-Pacific International Exposition (1915: San Francisco, Calif.)  Search this
Butler, Theodore Earl, 1861-1936  Search this
Cox, Kenyon, 1856-1919  Search this
Hale, Nancy, 1908-  Search this
Hart, William H., b. 1863  Search this
Kennedy, Albert J. (Albert Joseph), 1879-1968  Search this
Tarbell, Edmund Charles, 1862-1938  Search this
Extent:
7.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Interviews
Sketchbooks
Sketches
Date:
1818-1962
bulk 1877-1939
Summary:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.
Scope and Contents note:
The papers of Boston painter, teacher, critic, and writer Philip Leslie Hale measure 7.4 linear feet and date from 1818 to 1962, with the bulk of the material dating from 1877 to 1939. Biographical information; correspondence with family, friends, and colleagues, including many artists; sketches and 9 sketchbooks; writings; printed material; and photographs document the artist's career and personal life. The collection also includes research materials and catalogs compiled by Albert J. Kennedy for a never-published Philip Leslie Hale memorial volume.

Biographical materials include financial and legal records; personal documents, such as educational records and biographical notes; printed material; and notes concerning art classes and teaching. Also included are scattered letters, invitations, schoolwork, and notebooks from his youth. Ten notebooks contain sketches, along with some class notes and essays.

Family, general, and business correspondence document the personal and professional life of Philip Leslie Hale and, to a lesser extent, several of his relatives. Family correspondence includes Hale's exchanges with various relatives, and some of their correspondence with others. General correspondence with friends, colleagues, and other artists is both personal and professional in nature. Correspondents include Theodore Butler, Kenyon Cox, Nancy Hale, William H. Hart, and Edmund C. Tarbell. Business correspondence concerns many aspects of Hale's career. Correspondents include students, arts institutions, models, and publishers.

Writings by Philip L. Hale consist of lectures on anatomy, art history, and various art topics; miscellaneous articles; notes on artists, esthetics and philosophy either for classroom use or his writings; character sketches, a play, poems, and political writings.

Artwork consists of 9 sketchbooks and loose sketches in pencil and ink of heads, figures, anatomical studies, landscapes, and miscellaneous subjects. A much smaller number of pastels, prints, and oil sketches are included. This series also includes a few items by other artists.

Research files and catalogs, compiled from 1932 to 1939 by Hale's friend Albert J. Kennedy for a never-published memorial volume, include extensive correspondence and notes of interviews with friends, relatives, colleagues, former students, and models recording their reminiscences of Hale. Kennedy collected exhibition catalogs and a variety of other printed material, along with biographical and genealogical information, and photographs of Hale's work. Many of his research notes consist of handwritten transcriptions of published articles by and about Hale.

Printed material about Philip L. Hale includes articles, reviews, and miscellaneous newspaper clippings mentioning him or containing reproductions of his work. Printed items by Hale consist of art reviews, miscellaneous articles on art topics, copies of his columns that appeared in Arcadia: A Journal Devoted to Music, Art and Literature, and the text of a speech.

The majority of photographs record works of art, mainly by Philip L. Hale, and also by Lilian Westcott Hale, Robert Payne, and Edmund C. Tarbell. Personal photographs include images of Hale, his relatives, and friends. There are also several group portraits of the 1915 Panama-Pacific Exhibition Jury, a group portrait with students, views of Hale at work in his studio and in the classroom, pictures of a summer house, and landscapes.
Arrangement note:
The collecion is arranged as 7 series:

Series 1: Biographical Materials, 1875-1939 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1818-1944 (2 linear feet; Boxes 1-3)

Series 3: Writings, circa 1910-1930 (0.8 linear feet; Boxes 3-4)

Series 4: Artwork, circa 1870-1930 (0.4 linear feet; Box 4)

Series 5: Memorial Book, circa 1862-1962 (2.8 linear feet; Boxes 4-8, OV 9)

Series 6: Printed Material, 1883-1951 (8 folders; Box 7)

Series 7: Photographic Material, 1868-1931 (12 folders; Box 7)
Biographical/Historical note:
Philip Leslie Hale (1865-1931) was the son of prominent Unitarian minister and well-known author, Edward Everett Hale. Members of this distinguished old Boston family included such ancestors as Revolutionary War hero Nathan Hale, influential preacher Lyman Beecher, educator Catherine Beecher, and Harriet Beecher Stowe, author of Uncle Tom's Cabin. From a young age Philip's talent and interest in drawing was encouraged by his parents, especially his mother. An older artist sister, Ellen Day Hale (1855-1940) and an aunt, Susan Hale (1834-1910), a trained painter, provided Philip with his first art lessons.

Family tradition and expectations decreed that after completing studies at the Boston Latin School and Roxbury Latin School, Hale would attend Harvard. After passing Harvard's entrance examination, as required by his father, Philip was free to pursue art. He enrolled in the School of the Museum of Fine Arts, Boston, in the fall of 1883, where he was an early pupil of Edmund C. Tarbell. The following year he continued his studies in New York at the Art Students League under J. Alden Weir and Kenyon Cox.

In early 1887, Hale went to Paris, adopted a bohemian lifestyle, and studied at the Ecole des Beaux-Arts and the Académie Julian. He became friends with fellow students Theodore Butler and William Howard ("Peggy") Hart. In the summer of 1888, the three made their first trip to Giverny, where they were among the first Americans to experiment with Impressionism. They met other American artists, including Theodore Robinson, John Leslie Breck, and Theodore Wendel, who also had been drawn to Giverny by the presence of Claude Monet. Hale returned to Boston in the summer of 1890, but was soon drawn back to Paris to be with his sweetheart Katharine Kinsella. He spent the summers of 1891-1893 continuing his experiment with Impressionism in Giverny, and during that period traveled to London, Paris, and Spain, periodically returning home and to the family's Rhode Island summer place.

In 1893 Hale began teaching cast drawing at the School of the Museum of Fine Arts, Boston, where he remained on the faculty until his death in 1931. Eventually he became the chief instructor of drawing, and also offered courses in life drawing, artistic anatomy, and art history. Hale also taught at the Worcester Art Museum (1898-1910), the Pennsylvania Academy of the Fine Arts (1913-1928), and Boston University (1926-1928).

Hale's first solo exhibition, held in 1899 at Durand-Ruel Galleries in New York City, consisted of Impressionist paintings and pastels that received mixed reviews. In subsequent years his work became increasingly academic and focused on figure paintings and portraits. He exhibited frequently in national and international shows, won numerous medals and prizes, and was elected an Associate National Academician of the National Academy of Design in 1917.

In 1902, Hale married former student, Lilian Westcott, a painter and portraitist whose success during some periods eclipsed that of her husband.

Philip Leslie Hale, like many of his relatives, was a noted writer and speaker. His column "Art in Paris" appeared regularly in the Canadian-based periodical Arcadia: A Journal Devoted to Music, Art and Literature between 1892 and 1893 and discussed Impressionism, Post-Impressionism, and Symbolism. Hale regularly contributed art columns, reviews, and miscellaneous articles to the Boston Daily Advertiser, Boston Commonwealth, Boston Herald, and Boston Evening Transcript during the first decade of the twentieth century.

Hale's teaching stressed the importance of learning Old Master's techniques. He had a life-long interest in Vermeer, and as a writer and critic he generated quite a bit of enthusiasm for that artist among the figurative painters of the Boston School, his own students, and others. Jan Vermeer of Delft, a highly regarded monograph by Philip Leslie Hale - the first on the subject published in the United States - appeared in 1913. He wrote several other books on art subjects, and his services as a lecturer on art topics were sought after by a variety of organizations both locally and nationally.

Philip Leslie Hale died following emergency surgery in Dedham, Massachusetts, on February 2, 1931.
Related Archival Materials note:
The Archives of American Art also holds a separately cataloged collection of Philip Leslie Hale drawings on microfilm reel 3766 and two collections related to the Hale family, including the Ellen Hale and Hale family papers and the Edward Everett Hale letter to an unidentified person.
Provenance:
The Philip Leslie Hale papers were donated to the Archives of American Art in 1962 by the artist's daughter, Nancy Hale Bowers. Additionally, notes written by Mrs. Nathan Hale were donated by Lilian Westcott Hale in 1963.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- Massachusetts -- Boston  Search this
Art critics -- Massachusetts -- Boston  Search this
Topic:
Art -- History  Search this
Art -- Study and teaching  Search this
Painting, American  Search this
Painters -- Massachusetts -- Boston  Search this
Authors -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Photographs
Interviews
Sketchbooks
Sketches
Citation:
Philip Leslie Hale papers, 1818-1962, bulk 1877-1939. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.halephil
See more items in:
Philip Leslie Hale papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-halephil
Online Media:

Charles Henry Turner papers, 1875-circa 1973, bulk circa 1890-circa 1910

Creator:
Turner, Charles Henry, 1848-1908  Search this
Turner, Charles Henry, 1848-1908  Search this
Subject:
Lesrel, Adolphe Alexandre  Search this
Murray, Henry  Search this
Carlsen, Emil  Search this
Garrett, Edmund H. (Edmund Henry)  Search this
Type:
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Topic:
Artists' studios -- Pictorial works  Search this
Painting, Modern -- 19th century  Search this
Etching -- 19th century  Search this
Etchers  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9256
(DSI-AAA_SIRISBib)211451
AAA_collcode_turnchar
Theme:
Sketches & Sketchbooks
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211451
Online Media:

Charles Hopkinson

Photographer:
Noyes, Margaret  Search this
Noyes, Margaret  Search this
Subject:
Hopkinson, Charles  Search this
Type:
Photographs
Date:
1938
Topic:
Artists at or with their work  Search this
Artists' studios  Search this
Painting  Search this
Record number:
(DSI-AAA)2561
See more items in:
Forbes Watson papers, 1840-1967, bulk 1900-1960
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_2561
Online Media:

Katharine Lane Weems papers, 1865-1989

Creator:
Weems, Katharine Ward Lane, 1899-1989  Search this
Weems, Katharine Ward Lane, 1899-1989  Search this
Subject:
Cornell, Katharine  Search this
Cresson, Margaret French  Search this
Grafly, Charles  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Manship, Paul  Search this
Monjo, Enric  Search this
Putnam, Brenda  Search this
Wong, Anna May  Search this
Gildersleeve, Basil L. (Basil Lanneau)  Search this
Lane, Gardiner M.  Search this
Hancock, Walker Kirtland  Search this
Kroll, Leon  Search this
Marans, Moissaye  Search this
Weinman, Adolph A. (Adolph Alexander)  Search this
Lane, Katharine Ward  Search this
Brookgreen Gardens  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Type:
Sketchbooks
Video recordings
Place:
Saranac Lake N.Y. -- Photographs
Topic:
Women sculptors -- Massachusetts -- Boston  Search this
Animal sculpture -- United States  Search this
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8603
(DSI-AAA_SIRISBib)210783
AAA_collcode_weemkath
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210783

Amelia Peabody papers, 1925-1978

Creator:
Peabody, Amelia, 1890-1984  Search this
Peabody, Amelia, 1890-1984  Search this
Topic:
Women sculptors -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Sculpture -- Technique  Search this
Theme:
Women  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)8931
(DSI-AAA_SIRISBib)211117
AAA_collcode_peabamel
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211117

Dimitri Hadzi papers, 1921-2003

Creator:
Hadzi, Dimitri, 1921-2006  Search this
Hadzi, Dimitri, 1921-2006  Search this
Subject:
Foundry, Nicci  Search this
Harvard University  Search this
Type:
Drawings
Interviews
Sound recordings
Video recordings
Topic:
Artists' studios -- Photographs  Search this
Sculpture, Modern -- 20th century  Search this
World War, 1939-1945  Search this
Theme:
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)9532
(DSI-AAA_SIRISBib)211731
AAA_collcode_hadzdimi
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211731

Anna Coleman Ladd papers, 1881-1950

Creator:
Ladd, Anna Coleman Watts, 1878-1939  Search this
Ladd, Anna Coleman Watts, 1878-1939  Search this
Subject:
Aldrich, William  Search this
Southwick, Jessie Eldridge  Search this
Hammond, Natalie Hays  Search this
Gardner, Isabella Stewart  Search this
Fabbricotti, Gabriella  Search this
American Red Cross. Studio for Portrait Masks (Paris, France)  Search this
Type:
Diaries
Drawings
Sketchbooks
Photographs
Sketches
Scrapbooks
Topic:
Portrait sculpture  Search this
Artists' studios -- Photographs  Search this
Architectural sculpture  Search this
Sculptors -- Massachusetts -- Boston  Search this
Women sculptors -- Massachusetts -- Boston  Search this
World War, 1914-1918 -- France -- Paris Portrait sculpture  Search this
Women authors -- Massachusetts -- Boston  Search this
Works of art  Search this
Theme:
Sketches & Sketchbooks  Search this
Women  Search this
Diaries  Search this
Lives of American Artists  Search this
Record number:
(DSI-AAA_CollID)10600
(DSI-AAA_SIRISBib)214076
AAA_collcode_laddanna
Theme:
Sketches & Sketchbooks
Women
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214076
Online Media:

Bernard Chaet papers, circa 1944-2012

Creator:
Chaet, Bernard, 1924-2012  Search this
Chaet, Bernard, 1924-2012  Search this
Type:
Sketchbooks
Topic:
Art -- Technique  Search this
Artists' studios -- Photographs  Search this
Drawing -- Study and teaching  Search this
Theme:
Lives of American Artists  Search this
Sketches & Sketchbooks  Search this
Record number:
(DSI-AAA_CollID)6571
(DSI-AAA_SIRISBib)215865
AAA_collcode_chaebern
Theme:
Lives of American Artists
Sketches & Sketchbooks
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215865

Garabed Der Hohannesian papers, 1929-2007

Creator:
Der Hohannesian, Garabed, 1908-1992  Search this
Der Hohannesian, Garabed, 1908-1992  Search this
Subject:
Massachusetts School of Art  Search this
Type:
Sketchbooks
Topic:
Artists' studios -- Photographs  Search this
Record number:
(DSI-AAA_CollID)17329
(DSI-AAA_SIRISBib)379855
AAA_collcode_derhgara
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_379855

Charles Henry Turner papers

Creator:
Turner, Charles Henry, 1848-1908  Search this
Names:
Carlsen, Emil, 1853-1932  Search this
Garrett, Edmund H. (Edmund Henry), 1853-1929  Search this
Lesrel, Adolphe Alexandre  Search this
Murray, Henry -- Art of painting and drawing in coloured crayons  Search this
Extent:
0.54 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Date:
1875-circa 1973
bulk circa 1890-circa 1910
Summary:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Scope and Contents:
The papers of Massachusetts and New Hampshire painter and printmaker Charles Henry Turner, measure 0.54 linear feet and date from 1875-circa 1973, with the bulk of the material dating from circa 1890-circa 1910. The collection includes an auction catalog and a price list of Turner's paintings, biographical material, five letters, artwork, miscellaneous printed material, photographs of Turner, his studio, European travel, and artwork, and two glass plate negatives.
Arrangement:
The collection is arranged as one series.

Series 1: Charles Henry Turner Papers, 1875-circa 1973 (0.5 linear feet; Box 1, OV 2, MGP 1-2)
Biographical / Historical:
Massachusetts and New Hampshire painter and printmaker Charles Henry Turner (1848-1908) was known for his landscapes, portraits, illustrations, and genre scenes. Born in Newburyport, Massachusetts, Turner studied under Otto Grundmann at the Boston Museum of Fine Arts School in the late 1870s. He studied in Europe in the 1880s, before returning to Boston, where he had a studio above his home on Mount Vernon Street.

Turner established a summer home in the White Mountains of New Hampshire and built a studio resembling a Swiss chalet on a hillside in Jackson, where he and his family spent many summers.

Turner was a member of the Unity Art Club and served as president of the Boston Art Club, where his work was exhibited many times. His work was also exhibited at the Pennsylvania Academy of Fine Arts.
Separated Materials:
Also in the Archives of American Art is material lent for microfilming (reel 4781) including drawings, a watercolor by Turner, and two charcoal landscapes by Edmund H. Garrett and [Emil?] Carlsen. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The collection was donated to the Archives of American Art by G. Frances Souther, granddaughter of Turner, in 1973 and 1979. The artworks on reel 4781 were lent for microfilming in 1993 by Robert and Connie Rosen, antiques dealers, who purchased the material at auction. The drawings may have come from Miss Souther's estate.
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.
Occupation:
Painters  Search this
Topic:
Artists' studios -- Pictorial works  Search this
Painting, Modern -- 19th century  Search this
Etching -- 19th century  Search this
Etchers  Search this
Function:
Artists' studios -- New Hampshire
Artists' studios -- France
Genre/Form:
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Citation:
Charles Henry Turner papers, 1875-circa 1973, bulk 1890-1910. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnchar
See more items in:
Charles Henry Turner papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-turnchar
Online Media:

William Cushing Loring papers

Creator:
Loring, William Cushing, 1879-  Search this
Names:
Musée du Louvre  Search this
National Gallery (Great Britain)  Search this
Rhode Island School of Design  Search this
Alma-Tadema, Lawrence, Sir, 1836-1912  Search this
Loring, Elizabeth  Search this
Loring, Helen  Search this
Loring, Robert  Search this
Loring, Stanton D.  Search this
Millet, Francis Davis, 1846-1912  Search this
Sargent, John Singer, 1856-1925  Search this
Photographer:
Chickering, Elmer  Search this
Extent:
0.7 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Paintings
Photographs
Illustrated letters
Date:
1899-1961
Summary:
The papers of American portrait painter William Cushing Loring (1897-1959) measure 0.7 linear feet and date from 1899-1961. The majority of the collection consists of correspondence, including letters which document Loring's artistic education in Paris and London 1900-1904. Also found within the collection are letters from other Loring family members, printed materials which document Loring's artistic career, and photographs of the artist and his work.
Scope and Contents:
The William Cushing Loring papers measure 0.7 linear feet and date from 1899-1961. The collection documents Loring's artistic education in Paris and London and his career as an artist and instructor through correspondence, printed materials, and photographs.

Correspondence consists primarily of letters from William Cushing Loring to other Loring family members, including Stanton D. Loring, his father; Mrs. Stanton D. Loring, his mother; Robert Loring, his brother; and Elizabeth and Helen Loring, his sisters. Letters document Loring's life as an artist living abroad in Paris and London. He writes of visits to the studios of John Singer Sargent, Francis David Millet, and Lawrence Alma-Tadema; trips to museums and galleries; excursions to copy paintings in the Louvre and the London National Gallery; evening entertainment; and accounts of daily expenses. Some letters addressed to his parents include illustrations, sketches in ink and graphite, as well as miniature paintings. Letters from Helen Loring and Robert Loring to their parents, as well as unidentified letters, are also present. Envelopes are for the most part matched to letters, but fragment envelopes and letters are integrated within collection.

Printed materials include exhibition catalogs, newspaper obituary clippings for William Cushing Loring, bulletins for Rhode Island School of Design alumni, a holiday card for Loring's studio, and business cards.

Photographic material includes photographs of works of art by William Cushing Loring and photographs of the artist. Photographs of the artist include portraits and photographs of Loring with his family. Included among photographs of works of art are photos by Elmer Chickering.
Arrangement:
The collection is arranged as three series.

Series 1: Correspondence, 1899-1904 (0.5 linear feet; Box 1-2)

Series 2: Printed Material, circa 1905-1961(4 folders; Box 2)

Series 3: Photographic Material, circa 1905 (4 folders; Box 2, OV 3)
Biographical / Historical:
William Cushing Loring (1897-1959) was an American painter and teacher born in Newton Center, MA. He studied at Boston Museum of Fine Arts, Chase's Art School in New York, Academie Colarossi and Academie Delecluse in Paris, and for two years in Holland and London. Loring was best known for his portraiture. He was appointed head of the painting and drawing department at the Rhode Island School of Design in 1905, and taught at La Salle Junior College in Auburn, Massachusetts from 1921 to 1939.
Provenance:
The collection was donated by William Loring Cushing, Jr., son of the artist, in 1985.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- Massachusetts  Search this
Topic:
Expatriate painters -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Expatriate artists -- England -- London  Search this
Art -- Study and teaching -- England -- London  Search this
Educators -- United States  Search this
Function:
Artists' studios -- France
Genre/Form:
Sketches
Paintings
Photographs
Illustrated letters
Citation:
William Cushing Loring papers, 1899-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.loriwill
See more items in:
William Cushing Loring papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-loriwill
Online Media:

Henry Botkin papers

Creator:
Botkin, Henry, 1896-1983  Search this
Names:
American Abstract Artists  Search this
Artists Equity Association  Search this
Federation of Modern Painters and Sculptors  Search this
Gallery 256 (Provincetown, Mass.)  Search this
Arlen, Harold, 1905-1986  Search this
Botkin, Benjamin Albert, 1901-1975  Search this
Brice, Fanny  Search this
Brice, William, 1921-2008  Search this
Gershwin, George, 1898-1937  Search this
Gershwin, Ira, 1896-1983  Search this
Godowsky, Frances  Search this
Gross, Chaim, 1904-1991  Search this
Hasegawa, Saburō, 1906-1957  Search this
Hofmann, Hans, 1880-1966  Search this
Knaths, Karl, 1891-1971  Search this
Laurent, Toinette Botkin  Search this
Mocsanyi, Paul  Search this
Motherwell, Robert  Search this
Nevelson, Louise, 1899-1988  Search this
Newman, Barnett, 1905-1970  Search this
Picasso, Pablo, 1881-1973  Search this
Putnam, Wallace, 1899-1989  Search this
Rattner, Abraham  Search this
Robus, Hugo, 1885-1964  Search this
Schoenberg, Arnold, 1874-1951  Search this
Shadbolt, Jack, 1909-  Search this
Siqueiros, David Alfaro  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
3.5 Linear feet ((on 10 microfilm reels))
4 Sound tapes (7 & 5 in.)
Type:
Collection descriptions
Archival materials
Sound tapes
Drawings
Scrapbooks
Date:
1917-1979
Scope and Contents:
Biographical material (1945-1965), letters (1917-1979), notes (1950-1970), writings (1944-1970), business records (1927-1977), art works (1932-1964), subject files (1952-1955), scrapbook (1927-1939), printed material (1923-1977), and photographs (1922-1968) documenting Botkin's career and his friendship with George and Ira Gershwin and other entertainment and artistic figures.
Among the correspondents and subjects of photographs or letters are: George and Ira Gershwin, their sister Frances Godowsky, Botkin's brother Benjamin, Botkin's daughter Toinette Botkin Laurent, and grandson Alexander Laurent, composer Harold Arlen, Fanny Brice and her son William Brice, artists Chaim Gross, Saburo Hasegawa, Hans Hofmann, Karl Knaths, Paul Manship, Paul Mocsanyi, Robert Motherwell, Louise Nevelson, Barnett Newman, Pablo Picasso, Wallace Putnam, Abrahmam Rattner, Hugo Robus, Arnold Schoenberg, Jack Shadbolt, John Von Wicht, and Abraham Walkowitz. Also included are photographs of Botkin's studio, night picnic in Provincetown attended by many artists; and material relating to American Abstract Artists, New School Art Center, Provincetown Art Association, and the Federation of Modern Painters and Sculptors. [See Finding Aid for information on location of items on the microfilm].
UNMICROFILMED: 3 untranscribed interviews of Botkin, 1 done for the "Today" show, NBC, June 4, 1965; 1 for Colette Roberts "Meet the Artist" Program, undated, and 1 by an unidentified interviewer. Also included is an untranscribed monologue, Oct. 11, 1970.
Biographical / Historical:
Painter; New York, N.Y. and Provincetown, Mass. Born in Boston and attended art schools there from 1913-1917. From 1917-1920, he attended the Art Students League and was employed as an illustrator for prominent magazines until 1929. Traveling abroad between 1926 and 1933, he attained his first one-man show in 1927 at the Billiet Galleries in Paris. Through his cousin, composer George Gershwin, Botkin became acquainted with people active in the performing arts, such as Harold Arlen, Fanny Brice, Harry Kurnitz, and Bert Lahr. Botkin was also involved in the American Abstract Artists, Artists Equity Association, Federation of Modern Painters and Sculptors, and Gallery 256 in Provincetown, Massachusetts.
Related Materials:
Henry Botkin papers also at Syracuse University.
Provenance:
Donated 1969-1982 by Henry Botkin and by his son Glenn and his assistant Rene Barilleaux. Many items were returned to Botkin after microfilming.
Restrictions:
Patrons must use microfilm copy. Use of untranscribed tapes requires an appointment at the Washington, D.C. office.
Occupation:
Composers  Search this
Painters -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Provincetown  Search this
Topic:
Art, Abstract  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Drawings
Scrapbooks
Identifier:
AAA.botkhenr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-botkhenr

Will Barnet papers

Creator:
Barnet, Will, 1911-2012  Search this
Names:
Art Students League (New York, N.Y.)  Search this
Esther-Robles Gallery  Search this
Waddell Gallery  Search this
Barnet, Peter. Will Barnet: artist and teacher  Search this
Booth, Cameron, 1892-1980  Search this
Pearson, Henry, 1914-2006  Search this
Savelli, Angelo, 1911-  Search this
Sternberg, Harry, 1904-2001  Search this
Von Wicht, John, 1888-1970  Search this
Extent:
30.7 Linear feet
7.24 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Video recordings
Transcripts
Interviews
Visitors' books
Sound recordings
Sketches
Photographs
Date:
1897
1929-2016
Summary:
The papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work. An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.
Scope and Contents:
The papers of painter, printmaker, and educator Will Barnet date from 1897 and 1929-2016. The collection measures 30.7 linear feet and 7.24 gigabytes. Found within the papers are biographical material, including numerous recorded interviews of Barnet; personal and professional correspondence; writings and lectures; financial records; printed material; artwork; and photographs of Barnet, his family and friends, and his work. An addition received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material.

Biographical materials consist of appointment and address books, curriculum vitae, a fellowship application, awards ceremony documentation, and numerous recorded interviews, including a 9 part interview with Kitty Gellhorn conducted over the course of two years. Only 6 of the 24 interviews have transcripts and most are found only on original audio and video recordings with no duplicate access copies.

Correspondence is primarily with Barnet's family, friends, fellow artists, and business associates discussing personal relationships, teaching and lecturing appointments, gallery sales, and exhibitions. Correspondents of note include Cameron Booth, Henry Pearson, Angelo Savelli, Harry Sternberg, Jon Von Wicht, Esther Robles Gallery, and the Waddell Gallery (formerly Grippi and Waddell).

Writings by Barnet consist of 7 essays, 45 teaching lectures, 3 notebooks, and 4 speeches. Many of the lectures and 3 of the 4 speeches exist only as audio and video recordings for which there are no transcripts or duplicate access copies. The bulk of writings by others are biographical essays and memoirs of Barnet, including a copy of Peter Barnet's dissertation, Will Barnet: Artist and Teacher. The series also includes 4 exhibition guest registers.

Personal business records include sales and teaching contracts, gift acknowledgements, and price lists.

Printed material includes auction catalogs, clippings, audio recordings, video documentaries, exhibition announcements and catalogs, newsletters, press releases, programs, and reproductions of artwork. Video documentaries of note include Artist's Eye and Lasting Impressions, both of which Barnet contributed interviews to.

Photographic materials document people, artwork, exhibition installations, and works of art. There are early photos of Barnet teaching at the Art League, as well as photos of Barnet in his studio and with friends and family. Views of exhibition installations, award ceremonies, and events mainly document solo shows and Barnet's reception after receiving the National Arts Club's Gold Medal Award.

Artwork consists of ink, pencil, and pen sketches by Will Barnet, and a drawing by Bill Smith.

The addition to the Will Barnet papers received in 2016 includes biographical material, correspondence, writings, diaries and daybooks, gallery and exhibition files, project and professional files, printed material, and photographic material. Measuring 19.7 linear feet and 7.24 gigabytes, the addition greatly expands on the original donation, particularly in the diaries and daybooks, which include entries from over five decades. Barnet's long career and professional activities are also well documented in the gallery, exhibition, project, and professional files.
Arrangement:
The collection is arranged as 8 series.

Series 1: Biographical Materials, 1945-1995 (2 linear feet; Boxes 1-2, FC 34)

Series 2: Correspondence, 1940-2001 (3 linear feet; Boxes 3-5, OV 12)

Series 3: Writings, 1940-2000 (3.1 linear feet; Boxes 5-9)

Series 4: Personal Business Records, 1950-1981 (5 folders; Box 9)

Series 5: Printed Material and Publications, 1938-2001 (2.3 linear feet; Boxes 9-11)

Series 6: Photographic Materials, 1939-2001 (0.5 linear feet; Box 11, OV 12)

Series 7: Artwork, 1938-1983 (3 folders; Box 11)

Series 8: Addition to the Will Barnet Papers, 1897, 1929-2016 (19.7 linear feet; Box 13-32, OV 33; 7.24 Gigabytes; ER01-ER06)
Biographical / Historical:
Will Barnet (1911-2012) was a painter, printmaker, and educator who lived and worked in New York City.

Barnet was born in Beverly, Massachusetts to Noah and Sarahdina Barnet. After showing an early interest and affinity for art, he attended the School of the Museum of Fine Arts in Boston. In 1931, he received a scholarship to attend the Art Students League where he studied with Stuart Davis and began building his printmaking techniques. In 1935, he was appointed the League's official printer, and was given his first teaching position there the following year. In 1938, working in the style of social realism, he held his first gallery show at the Hudson Walker Gallery in Manhattan. That same year, Barnet married Mary Sinclair, with whom he had three sons.

In the 1940s and 50s, Barnet began to move away from realism and started painting domestic familial subjects in geometric abstract styles, a move influenced by Native American and modern European art. By 1953, he had divorced and was remarried to Elena Ciurlys, with whom he had a daughter. Elena and his daughter were the subject of many of his representational, dimensionally flat paintings in the 1960s and 70s. During the 60s, Barnet also returned to large scale abstract art, and moved back and forth between styles throughout the rest of his career into the 2000s.

As an educator, Barnet taught graphic arts, printmaking, composition, and painting courses at the League from 1936 to 1980, and also taught courses Cooper Union, Yale, and the Pennsylvania Academy of Fine Arts. He received numerous awards, including the first Artist's Lifetime Achievement Award given on the National Academy of Design's 175th anniversary, the College Art Association's Lifetime Achievement Award, and the 2011 National Medal of Arts.

Will Barnet died in his home in Manhattan, New York on November 13, 2012.
Related Materials:
The Archives of American Art holds three oral history interviews with Will Barnet, one conducted by Richard Baker, January 20, 1964, one by Paul Cummings, January 15, 1968, and another by Stephen Polcari on April 9, 1993. Also found are two additional related collections, a transcript of an interview by Louis Newman with Molly Barnes and Will Barnet, and Peter Barnet's research material on Will Barnet. Syracuse University holds additional papers of Will Barnet.
Separated Materials:
Also found in the Archives are papers that were lent for microfilming (reels N68-22, N69-126, and N70-48.) Most but not all of this material was included in subsequent donations, except for scattered news clippings and exhibition catalogs. The microfilm is not described in the container listing of this finding aid.
Provenance:
Will Barnet loaned his papers to the Archives of American Art for microfilming in 1968. He donated most of this material along with additional papers in several increments between 1968-2001. More papers were donated 2016 by Elena Barnet, Will Barnet's widow.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Printmakers -- New York (State) -- New York  Search this
Function:
Artists' studios -- New York (State)
Genre/Form:
Video recordings
Transcripts
Interviews
Visitors' books
Sound recordings
Sketches
Photographs
Citation:
Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.barnwill
See more items in:
Will Barnet papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-barnwill
Online Media:

William Frederick Stecher papers

Creator:
Stecher, William Frederick, b. 1864  Search this
Extent:
0.4 Linear feet ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1889-1918
Scope and Contents:
Eight letters from various people thanking Stecher for the quality of his art work; an autobiographical manuscript, "A Story of an Art Student in Paris"; 2 scrapbooks, ca. 1890, containing travel sketches, several clippings, and 3 photographs of his studio.
Biographical / Historical:
Painter, illustrator; Boston, Mass.
Provenance:
Donated 1985 by Elizabeth Galligan, whose husband, cartoonist Bob Galligan, was a friend of Stecher, and collected the material.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art students -- France -- Paris  Search this
Illustrators -- Massachusetts -- Boston  Search this
Painters -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Scrapbooks
Identifier:
AAA.stecwill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-stecwill

Emily and Jean Paul Selinger papers

Creator:
Selinger, Emily, 1848-1927  Search this
Selinger, Jean Paul, 1850-1909  Search this
Extent:
0.2 Linear feet ((partially microfilmed on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
White Mountains (N.H. and Me.) -- Art
Date:
1882-1918
Scope and Contents:
Correspondence, photographs, hand-made greeting cards, and printed material.
Reel 3768: Jean Paul and Emily Selinger's business card; their wedding announcement; 2 letters from Emily and Mrs. Remington; 6 original greeting cards painted and signed by Emily Selinger; 8 clippings regarding Jean Paul, Emily, and Emily's mother, Mrs. Elizabeth Payne McGary; and 1 photograph of Emily's studio on Boylston Street, Boston, Massachusetts.
Reel 3814: A photograph of Jean Paul Selinger and his niece, Marie Selinger (Warren). [microfilm title, Elizabeth Field photograph]
Unmicrofilmed material: correspondence of Jean Paul and Emily with niece Marie Selinger Warren; sister-in-law Mary McGary; cousin Joseph Selinger; and Mr. and Mrs. Merrill (proprietors of Crawford House); a poem by Emily; photographs of Jean Paul and of Williams and Everett Galleries; and a St. Botolph's Club membership booklet.
Biographical / Historical:
Emily: still life and floral painter, writer, poet; Jean Paul: landscape and portrait painter; Boston, Mass. and New Hampshire. Emily was originally from Wilmington, N.C. and was instrumental in establishing the Normal Art School, Louisville, Ky. Both worked in Providence, R.I. and Boston. Toured Europe 1882-1885. Opened summer studio in Glen House, in the White Mountains of New Hampshire in mid 1880s. From 1894 occupied Crawford House in White Mountains as summer studio.
Other Title:
Elizabeth Field photograph [reel 3814, microfilm title]
Provenance:
Unmicrofilmed papers donated 1982 by Charles and Gloria Vogel when acquired through research on White Mountain artists. Materials on reel 3768 donated 1982 by Marion C. Keaney, through her grandparents, the D. H. Remingtons, who were neighbors of Emily Selinger's mother, Mrs. McGary.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Landscape painters  Search this
Painters -- New Hampshire  Search this
Painters -- Massachusetts -- Boston  Search this
Topic:
Landscape painting -- New Hampshire  Search this
Greeting cards  Search this
Women artists  Search this
Function:
Artists' studios -- Massachusetts
Identifier:
AAA.seliemil
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-seliemil

David Berger papers

Creator:
Berger, David, 1920-1966  Search this
Names:
Cranbrook Academy of Art  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Interviews
Photographs
Transcripts
Sketchbooks
Date:
circa 1939-1986
Summary:
The papers of Massachusetts painter, sculptor, and educator David Berger measure 3.8 linear feet and date from circa 1939 to 1986. His career as an artist and professor are documented through biographical material, personal business records, scattered correspondence, gallery files, exhibition catalogs, news clippings, and other printed material, as well as nine sketchbooks and photographs depicting Berger, his family, and artwork.
Scope and Content Note:
The papers of Massachusetts painter, sculptor, and educator David Berger measure 3.8 linear feet and date from circa 1939 to 1986. His career as an artist and professor are documented through biographical material, personal business records, scattered correspondence, gallery files, exhibition catalogs, news clippings, and other printed material, as well as nine sketchbooks and photographs depicting Berger, his family, and artwork.

Biographical material consists of Veterans Administration records, interview transcripts, student records, diplomas, and documents from the memorial service held for Berger in 1966. Personal business records include of his employment records, scattered financial documents, and files documenting his submissions for juried art exhibitions. Also found here are inventory and sales records for Berger's artwork and documentation on the construction of Berger's house and studio in the late 1950s, designed by architect Marvin E. Goody.

Correspondence is with art galleries, professional organizations, publishers, Cranbrook Academy of Art, and individuals who purchased works by Berger. These letters primarily concern the sale and exhibition of David Berger's artwork as well as his education and teaching career. Gallery files include correspondence, price lists, artwork sales and loan records, exhibition planning documents, notes, and gallery publications.

Printed material consists of news clippings documenting David Berger's career, catalogs and announcements for exhibitions of works by Berger and others, as well as publications from Massachusetts College of Art and Cranbrook Academy of Art. One children's book includes illustrations by David Berger. Photographs depict Berger at art exhibitions and with his wife and daughters at home and in his studio. Also found are numerous photographs of his artwork. Nine sketchbooks contain various figure studies in pencil, ink, pastel, and charcoal.

Many of these files in this collection were maintained by Berger's wife, Ruth, after his death in 1966 and include her correspondence and notes.
Arrangement:
The collection is arranged as 7 series:

Series 1: Biographical Material, circa 1939-1966 (Box 1, 5; 0.3 linear feet)

Series 2: Personal Business Records, 1941-1981 (Box 1, OV 6; 0.6 linear feet)

Series 3: Correspondence, 1945-1986 (Box 1-2; 0.3 linear feet)

Series 4: Gallery Files, 1953-1985 (Box 2; 0.6 linear feet)

Series 5: Printed Material, 1943-1975 (Box 2-3, 5; 1.1 linear feet)

Series 6: Photographs, circa 1949-1960s (Box 3-5; 0.6 linear feet)

Series 7: Sketchbooks, circa 1956-1960s (Box 4-5; 0.3 linear feet)
Biographical Note:
David Berger (1920-1966) was a painter, sculptor, and educator in Boston, Massachusetts. Berger was born in Lawrence, Massachusetts, and earned a B.S. in education from the Massachusetts College of Art in 1946. In 1950 he received a master of fine arts degree from Cranbrook Academy of Art. He was a professor of art at Framingham State College from 1946 to 1957, and a professor of painting and illustration at Massachusetts College of Art from 1957 until his death on November 15, 1966.

Berger had numerous gallery exhibitions and won several awards in juried shows. He was represented in New York by the Cober Gallery, and in 1967 DeCordova Museum held a memorial exhibition of his work. In 1956 he was selected as on of the "100 Outstanding New Talents in U.S.A." by Art in America.
Provenance:
The collection was donated in 2010 by Ellen Berger Rainville, David Berger's daughter.
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.
Topic:
Sculptors -- Massachusetts -- Boston  Search this
Painters -- Massachusetts -- Boston  Search this
Educators -- Massachusetts -- Boston  Search this
Function:
Artists' studios -- Massachusetts
Genre/Form:
Interviews
Photographs
Transcripts
Sketchbooks
Citation:
David Berger papers, circa 1939-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bergdavi
See more items in:
David Berger papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bergdavi

Josef Presser and Agnes Hart papers

Creator:
Presser, Josef, 1906-1967  Search this
Names:
Art Students League (New York, N.Y.) -- Faculty  Search this
Artists Equity Association  Search this
Central Cown Art Center  Search this
Dalton School (New York, N.Y.)  Search this
New York University -- Faculty  Search this
Parnassus Square  Search this
Port of New York Authority  Search this
Prospect Hill School (New Haven, Conn.)  Search this
Woodstock Artists Association (Woodstock, N.Y.)  Search this
Ames, Elizabeth  Search this
Blanch, Lucile, 1895-1981  Search this
Fraser, Vera  Search this
Hart, Agnes, 1912-1979  Search this
Hopkinson, Charles, 1869-1962  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Smedley, Agnes, 1892-1950  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
4.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Postcards
Sketchbooks
Photographs
Date:
1913-1980
Summary:
The papers of New York painters and teachers Josef Presser and Presser's wife Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as artists and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.
Scope and Content Note:
The papers of New York painters and teachers Josef Presser and Agnes Hart measure 4.3 linear feet and date from 1913 to 1980, with the bulk of the material from 1940 to 1980. The collection documents their personal and professional lives as partners, artists, and educators and consists of biographical material, business and personal correspondence, teaching files, printed material, and scattered photographs. The collection also includes writings, personal business records, and artwork by Presser.

The collection is divided into two series. Series 1 consists primarily of Presser's papers from 1913 to his death in 1967, and Hart's correspondence dating from 1967 to 1977 regarding the management of his estate. Biographical material includes an address book, curriculum vitae, family history, and personal identification records. Presser's personal correspondence is with family and friends, including the artists Charles Hopkinson and Vera Fraser. Business related correspondence is with various collectors, galleries, museums, art associations, and art schools. There is also correspondence related to Presser's law suit against the New York Port Authority, and Presser and Hart's real estate purchases in Hurley and Woodstock, New York. Hart's correspondence concerns Presser's estate and artwork after his death, including letters related to the organization of Presser's memorial exhibition in 1968.

Writings by Presser include essay fragments, 4 notebooks, and numerous note fragments. His teaching files include memoranda, syllabi, and class assignments from his tenure at New York University from 1947 to 1952. There are also memoranda from the New York School of Visual Arts and the Prospect Hill School. Personal business records include bank registers, artwork sales records, and receipts from his residency in Paris in the 1960s.

Printed material consists of bulletins, clippings, and exhibition announcements and catalogs related to Presser's career. There are also draft and final versions of Presser's memorial exhibition catalog, and a copy of the 1951 conference Artist and the Museum sponsored by the Artists Equity Association and the Woodstock Artists Association.

Artwork consists of loose sketches, artwork on postcards and printed material, and 9 sketchbooks dating from the 1950s to 1960s. Photographic material includes photographs of Presser with friends and family, and photographs of his studio and artwork. There are also 4 photographs of the artist Abraham Walkowitz dating from the 1940s.

Agnes Hart's papers documenting her own career are arranged in Series 2 and date from 1930 to 1980. Biographical materials include two engagement calendars, curriculum vitae, consignment lists, and critiques. Her correspondence with family and friends includes letters from artist Lucile Blanch, journalist Agnes Smedley, and Yaddo director Elizabeth Ames. Business correspondence is with galleries, collectors, art associations, and art schools.

Teaching files include employment contracts, class catalogs, newsletters, and photographs from Hart's tenure at the Art Students League (1965-1975), and class catalogs and memoranda from Dalton Schools and Parnassus Square. Printed material includes bulletins, clippings, and exhibition announcements and catalogs related to Hart's career. There are also draft and final versions of the 1956 Yasuo Kuniyoshi memorial exhibition catalog. Additional photographic material consists of a photograph of the Central Cown Art Center, a gallery Hart managed in 1937.
Arrangement:
The collection is arranged as 2 series:

Series 1: Josef Presser, 1913-1977 (3 linear feet; Boxes 1-3, Box 5)

Series 2: Agnes Hart, 1930-1980 (1.3 linear feet; Boxes 3-4)
Biographical Note:
Josef Presser (1909-1967) lived and worked primarily in New York City as a painter, educator, and lecturer.

Presser was born in Lublin, Poland and immigrated with his family to Boston, Massachusetts in 1913. He showed an early affinity for art and, at the age of 12, was accepted to the Boston Museum School of Fine Arts on a four year scholarship. After completing his education, he spent several years traveling in Europe and visited the major museums of France, Italy, and Belgium before returning to America in 1931. Upon his return, Presser opened his first solo New York show at the Montross Gallery in 1931, moved to Philadelphia, painted murals as part of the Works Progress Administration program, and began receiving private commissions. By the mid-1930s, Presser was exhibiting regularly in solo shows in Philadelphia and had began accepting teaching positions. While lecturing at Iowa State University, Presser met his future wife and artist, Agnes Hart, who he married in 1941.

After moving to New York City in 1940, Presser continued to exhibit in New York galleries throughout the 1940s and 1950s, and eventually accepted teaching positions at New York University, Queens College, Cooper Union, and the Brooklyn Museum Art School, among others. Though he was familiar with the work of the abstract expressionists, Presser is known primarily for his figurative paintings featuring women, children, clowns, and horses, with the latter two subjects inspired by circuses he had traveled with in Europe. In 1940, Presser and Hart purchased studio space in Woodstock, New York where they exhibited as members of the Woodstock Artists Association. Presser's solo shows include exhibitions at Contemporary Arts Gallery, Associated American Artists Galleries, and the Vera Lazuk Gallery.

In 1965, Presser went on an extended trip abroad to Paris, and continued working until his death in 1967.

Agnes Hart (1912-1979) was born in Meridan, Connecticut and studied art at the Ringling Museum of Art in Sarasota, Florida and at Iowa State University. Hart was a prolific painter and printmaker of abstract forms and urban landscapes. In 1948 and 1949, she received fellowships as a guest painter at the Yaddo Foundation and exhibited her first solo show in New York City at the RoKo Gallery in 1948. She continued to exhibit regularly at New York City galleries into the 1970s, and also accepted several teaching positions, including a ten year tenure with the Art Students League of New York. She continued to paint and teach until her death in 1979.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-1) including original clippings and exhibition announcements. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The papers of Josef Presser were lent for microfilming by Agnes Hart in 1968. Excluding certain printed material, Hart later donated the bulk of these papers and additional Presser materials in 1977 and 1979. Hart donated her papers in 1978. Frances Hitchcock, Hart's sister, gave additional material in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art teachers -- New York (State) -- New York  Search this
Topic:
Painters -- New York (State) -- New York  Search this
Painting, Modern -- 20th century  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Sketches
Postcards
Sketchbooks
Photographs
Citation:
Josef Presser and Agnes Hart papers, 1913-1980, bulk 1940-1980. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.presjose
See more items in:
Josef Presser and Agnes Hart papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-presjose
Online Media:

Francis Davis Millet and Millet family papers

Creator:
Millet, Francis Davis, 1846-1912  Search this
Names:
Titanic (Steamship)  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Booth, Hilda Millet  Search this
James, Henry, 1843-1916  Search this
Millet, John A. P. (John Alfred Parsons), 1888-1976  Search this
Sargent, John Singer, 1856-1925  Search this
Sharpey-Schafer, Joyce A.  Search this
Extent:
3.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Travel diaries
Date:
1858-1984
bulk 1858-1955
Summary:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the materials dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.
Scope and Content Note:
The Francis Davis Millet and Millet family papers measure 3.3 linear feet and are dated 1858-1984, with a few scattered early eighteenth-century items, such as legal documents and printed matter. The bulk of the material dates from 1858 to 1955. Found are biographical materials, diaries/journals, family letters, notes and writings, art work, printed matter, miscellaneous records, and photographs documenting Millet's wide-ranging artistic and writing career and personal life, including his death aboard the Titanic. Also of interest are approximately twenty ink caricatures attributed to John Singer Sargent.

Biographical material consists of biographical and genealogical notes; also, memorial resolutions, invitations, and programs with several related items tipped in. Diaries/journals for the period 1858-1911 (16 vols., plus excerpts and transcripts) record Civil War experiences, the Russo-Turkish War, travels throughout Europe, to the northwest United States and Alaska, the Orient, and Panama.

Letters from F. D. Millet to his family date from his years at Harvard, art training in Antwerp, residence in Italy, and service as a correspondent during the Russo-Turkish War. Millet's letters include a few received from friends and associates, original letters sent by Millet to others, along with typescript copies of incoming letters. Also included is a file of letters addressed to Millet and others concerning the purchase and restoration of the Grange, his Broadway studio. There are four letters from Millet to his girlfriend Velma Marie Morse and scattered letters to Velma's father, A.P. Morse, and Fred Chapman. Photocopies of letters from sister Kathleen Millet to her friend Margherita describe her brother's adventures during the Russo-Turkish War, and include an account of his wedding. His sister Lucia Millet's letters to her family were written while she was in England living as a member of her brother's household, and are rich with details of Frank's daily life, work, travels, friends, and the American colony in Broadway. The letters of Lily Millet consist mainly of condolence messages sent upon the death of her husband, but also include letters from Samuel L. Clemens, Henry James, Ellen Terry [Carew], Charles Dudly Warner, her children, and others.

Included in the collection are Millet's extensive research notes about costumes and artifacts of various historical periods and locations that served as reference for details in his murals. Also included are his notebooks about Italian art, Bulgarian history and costume, and the Philippines. Writings by Millet consist of articles, short stories, lectures and speeches. Writings about him include texts by various relatives (all but one are unpublished). The most extensive written piece is by niece Hilda Millet Booth and son John [Albert] Parsons Millet, and is accompanied by early drafts, notes, and related correspondence.

Art work by Millet includes twelve volumes of sketchbooks dating from his student days in Antwerp through 1896, along with loose sketches, drawings, and two watercolors. Most were executed while traveling, and include landscapes, building, and local peoples. Works by other artists include 20 caricatures drawn in ink, attributed to John Singer Sargent.

Among the printed matter are newspaper articles by F. D. Millet, along with clippings about or mentioning him, reproductions, exhibition catalogs and announcements. Of interest are Vienna Exposition memorabilia, and a full length biography, Soldier of Fortune: F. D. Millet, 1846-1912 by granddaughter Joyce A. Sharpey-Schafer. Miscellaneous records include drawings sketches, notes, printed matter, and photographs relating to the Abbot's Grange in Broadway that served as Millet's studio.

Photographs of people include F. D. Millet, his father Asa Millet with granddaughter Kate, and Mary Anderson. Photographs of works of art are by Millet and other artists.
Arrangement:
The collection is arranged into eight series:

Series 1: Biographical material, circa 1864-1934 (Box 1, OV 5; 6 folders; Reel 5903)

Series 2: Diaries/Journals of Francis Davis Millet, 1858-1911 (Box 1; 0.5 linear ft.; Reels 5903-5904)

Series 3: Letters, 1867-1915, undated (Boxes 1-2; 0.5 linear ft.; Reel 5904)

Series 4: Notes and Writings, 1891-1970, undated (Box 3; 1.0 linear ft.; Reels 5904-5906)

Series 5: Art Work, 1872-1908, undated (Box 4; 0.5 linear ft.; Reels 5906-5907)

Series 6: Printed Matter, 1764-1984, undated (Box 4; 0.25 linear ft.; Reel 5907 and unfilmed)

Series 7: Miscellaneous Records, 1724-1897, undated(Box 4; 7 folders; Reel 5907)

Series 8: Photographs, circa 1883-circa 1910, undated (Box 4; 7 folders; Reel 5907)
Biographical Note:
During his lifetime, Francis Davis Millet (1846-1912), always known as Frank, was a prominent artist who was well known for murals that contained exactingly accurate historical details. His broad-ranging career included work with worlds' fairs in Vienna, Chicago, Paris, and Tokyo as a juror, administrator, mural painter/decorator, or advisor. In addition, Frank Millet was a newspaper writer who published short stories and enjoyed adventures as a war correspondent during the Russo-Turkish War and in the Philippines during the Spanish American War.

Millet was among the founders of the School of the Museum of Fine Arts, Boston, and was influential in the early days of the American Federation of Arts. Millet was involved with the American Academy in Rome from its inception and served as Secretary from 1904-1911. In 1911, Millet went to Rome as Chief Administrator of the newly combined Schools of Fine Arts and Classical Studies. He died aboard the Titanic while traveling to New York City on Academy business.

1846 -- born in Mattapoisett, Mass.

1864 -- enlisted as a private in the 60th Massachusetts Militia during Civil War, serving as a drummer; also acted as a surgical assistant to his physician father in the army of the Potomac

1869 -- graduated from Harvard University, where he studied modern languages and literature

1869-1870 -- learned lithography while working on the Boston Advertiser

1871-1872 -- studied at the Royal Academy of Fine Arts, Antwerp, where he won the silver medal (1871) and was awarded the gold medal (1872); traveled through Germany with 3 other American Students

1873 -- Secretary to Charles Francis Adams, Jr., Massachusetts' commissioner to the Vienna Exposition member of the Vienna Exposition; jury correspondent for the New York Herald and the New York Tribune; traveled through southern Europe and Turkey

1873-1874 -- traveled in Greece, Italy, Switzerland, and Germany

1875 -- toured Italy; returned to Boston and set up a studio on Tremont Street

1876 -- exhibited The Bay of Naples at the Philadelphia Centennial Exposition, where he represented the Boston Advertiser and was a correspondent for the American Architect and Building News; assisted John La Farge in decorating Trinity Church, Boston; founded the School of the Boston Museum of Fine Arts with La Farge and W. M. Hunt

1877 -- exhibited portraits of Charles Francis Adams, Jr. and Samuel L. Clements at the National Academy of Design

1877-1878 -- special war correspondent to the New York Herald and Times of London, and special artist to the London Graphic, reporting on the Russo-Turkish War; Russia awarded him the Cross of St. Stanislaus and the Cross of St. Anne for military advice and exceptional service (informing Russian officers of a ford that would allow them to cross into Turkey more easily) and the Iron Cross of Romania

1878 -- returned to Paris to paint; served on fine arts jury at the Exposition Universelle in Paris; exhibited in the Paris Salon and at the British Royal Academy

1879 -- married Elizabeth (Lily) Greeley Merrill in Paris; returned to the United States, settling in East Bridgewater, Mass., where he set up a studio that included an accurate reconstruction of a colonial era kitchen

1880 -- lectured on costumes at the School of the Museum of Fine Arts, Boston; birth of daughter, Katharine Field; became a member of the Society of American Artists; worked with Louis Comfort Tiffany on the decoration of the Seventh Regiment Armory, New York City

1881 -- shared studio in New York with Edwin Austin Abbey; birth of son, Edwin Abbey; commissioned by the Class of 1861 to design two windows for Harvard University Memorial Hall

1882 -- traveled in northern German and Scandinavia with Edwin Austin Abbey and R. Swain Gifford; elected an Associate member of the National Academy of Design

1883 -- traveled to England

1884 -- birth of Laurance, in London; settled with family in Broadway, Worcestershire (spending the winters of the next decade in New York); along with Edwin Austen Abbey, John Singer Sargent, and Alfred Parsons, he established a colony that at various times included Edwin Howland Blashfield, Lawrence Alma-Tadema, and Henry James, along with various other writers, actors, musicians

1885 -- traveled with Charles Francis Adams, Jr. throughout the U.S. and its territories, and to Mexico; elected a National Academician, National Academy of Design

1886 -- purchased "Russell House," that became his permanent home in Broadway, Worcestershire; and moved studio to "Abbot's Grange"

1887 -- translated "Sebastopol" by Tolstoy from French to English for publication

1888 -- birth of John Alfred Parsons

1889 -- awarded silver medal, Salon des Artistes, Paris

1890 -- published a collection of short stories, A Capillary Crime and Other Tales; purchased the "Abbot's Grange" that had been serving as his studio for the previous four years

1891 -- elected vice-president of National Academy of Design; for Harper's Magazine traveled with Alfred Parsons and Poultney Bigelow on a trip down the Danube in one-man canoes, from the Black Forest to the Black Sea (their illustrated narrative was published in the magazine, Feb.-May 1892; the following year, it appeared in book form as From the Black Forest to the Black Sea)

1892-1893 -- director of decorations for the White City of the World's Columbian Exposition, acting as a close advisor to the fair's architect Daniel Burnham; served on New York jury of the Columbian Exposition; once the Exposition opened, he served as Director of Functions and Ceremonies and also provided public relations and advertising services

1897 -- completed restoring "Abbot's Grange" to its 16th century appearance; completed lunette, Agriculture, commissioned for the Bank of Pittsburgh

1898 -- went to the Philippines to cover the Spanish American War as a special correspondent to Harper's Weekly, the London Times, and the New York Sun

1899 -- published Expedition to the Philippines, P. Bigelow, co-author

1900 -- appointed U. S. representative to the Paris Universal International Exposition where he was in charge of decoration of the Government Pavilion, and was a member of the Jury of Selection and the Fine Arts Jury; awarded Chevalier de la Legion of Hounneur by the French government in appreciation for his services to the Paris Exposition

1905 -- traveled to northwest United States, Alaska, and British Columbia; completed mural, The Treaty of the Traverse des Sioux, July 23, 1851, commissioned for the Minnesota State Capitol; became a charter member of the American Academy in Rome

1906 -- traveled to North Africa, Italy, and France

1907 -- completed mural, The Fourth Minnesota Regiment Entering Vicksburg, July 4, 1863, commissioned for the Minnesota State Capitol; completed mural, Foreman of the Grand Jury Rebuking the Chief Justice of New Jersey, 1774, commissioned for the Essex County Courthouse, Newark, New Jersey; traveled to Cuba

1908 -- completed The History of Shipping from the Earliest Recorded Use of Boats until the Present Time commissioned to decorate the ceiling of the Custom House, Baltimore; traveled to Japan as Special Commissioner to the proposed World's Fair in Tokyo [the fair was never held]; awarded "First Class Order of the Sacred Treasure" by the Japanese government; additional travel to Germany, Italy, Russia, Turkey, and China; elected Secretary of the American Academy in Rome; elected a member of the National Institute of Arts and Letters

1909 -- completed frieze of 13 panels, The History of the Settlement of Ohio, and several portraits commissioned by the Cleveland Trust Company; also responsible for the general color scheme of the building; completed frieze of 35 panels, The History of Mail Delivery, commissioned for the Post Office in the Federal Building, Cleveland; also responsible for determining the general color

1910 -- influential in the founding of the American Federation of Arts; served as its Secretary until his death; appointed to Federal Commission of Fine Arts; elected a member of the American Academy of Arts and Letters

1911 -- completed lunettes, The Repulse of the Dutch, September 3, 1609, and The Purchase of the Land, 1658, and 12 small historical panels, commissioned for the Hudson County Courthouse, Jersey City, New Jersey; also responsible for the general color scheme of the building; traveled to Panama with Lily and Mr. and Mrs. C. F. Adams, Jr.; elected Vice Chairman of the Fine Arts Committee, American Academy in Rome; moved to Rome to serve as Chief Administrator of the consolidated schools of the American Academy in Rome and the American School of Classical Studies in Rome following the death of Charles F. McKim (Millet was a charter member and had served as Secretary since its inception)

1912 -- died aboard the S. S. Titanic, while heading to New York City on American Academy in Rome business
Related Material:
Found within the holdings of the Archives of American Art are several collections related to Francis Davis Millet, including five letters from Millet to Miss Ward and "Ticknor" and a collection of Francis Millet Rogers research material regarding Francis Davis Millet. The Philip Martiny papers contains two group photographs that include F. D. Millet. A letter describing a visit to Millet's studio is among the William Cushing Loring Papers. The American Academy in Rome records include documents created by F. D. Millet in his capacity as Secretary from 1904-1907 and as Chief Administrator in Rome, 1911-1912.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Charles S. Millet loaned photographs, biographical information, and miscellaneous items in 1974 (reel 849). In 1976, he loaned an album of photographs of F. D. Millet's murals in the Baltimore Customs House, with related printed matter (reel 1080). Lent materials were returned to Charles S. Millet.
Provenance:
The Francis Davis Millet and Millet family papers were received between 1974 and 1996 from several family members. Most were gifts from Dr. John A. P. Millet, son of F. D. Millet, in 1974 and 1976. In 1974, Charles S. Millet, grandnephew of F. D. Millet, donated a copy of his brief biography he wrote on F. D. Millet and lent materials for microfilming. Also in 1974, Mrs. William King, granddaughter of F. D. Millet gave photographs of F. D. Millet and his art work, along with various printed matter. Additional letters to F. D. Millet were given by grandson, Frank D. Millet, in 1977.

In 1987, granddaughter Joyce A. Sharpey-Schafer donated documents she had used while writing a biography of Millet. In 1996, David M. Emerson, grandnephew of F. D. Millet, donated loose sketches and miscellaneous printed matter.

In 2003, additional letters were donated by grandsons Mr. Harry Flynn and Frank D. Millet, and again in 2006 by Frank D. Millet.
Restrictions:
Use of originals 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:
Painters  Search this
Topic:
Mural painting and decoration  Search this
Works of art  Search this
Art -- Study and teaching  Search this
Russo-Turkish War, 1877-1878  Search this
Artists' studios  Search this
United States -- History -- Civil War, 1861-1865  Search this
Painting, American  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Travel diaries
Citation:
Francis Davis Millet and Millet family papers, 1858-1984 (bulk 1858-1955). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.millfran
See more items in:
Francis Davis Millet and Millet family papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-millfran
Online Media:

Robert Reid papers

Creator:
Reid, Robert, 1862-1929  Search this
Names:
Reid, Charles D.  Search this
Reid, Sara Bigelow  Search this
Extent:
0.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Date:
circa 1880-circa 1930
Summary:
The papers of New York painter Robert Reid measure 0.9 linear feet and date from circa 1880-circa 1930. The collection provides scattered documentation of Reid's career and family history through a certificate, letters, an essay of family recollections, scrapbooks containing letters, writings, printed material and family photographs, printed material about Reid, and photographs of Reid, his studio, travels, and works of art.
Scope and Contents:
The papers of New York painter Robert Reid measure 0.9 linear feet and date from circa 1880-circa 1930. The collection provides scattered documentation of Reid's career and family history through a certificate, letters, an essay of family recollections, scrapbooks containing letters, writings, printed material and family photographs, printed material about Reid, and photographs of Reid, his studio, travels, and works of art.

Letters are primarily from Robert Reid to his sister Sara Bigelow Reid and document a single year in Reid's life (1887) when he moved to Paris and traveled to Italy, serving as a diary of his activities through October of that year. Writings consist of an essay and journal entries entitled "Really Random Recollections of Charles D. Reid for Robert N. Reid" written by Robert Reid's brother Charles between 1918 and 1920. Scrapbooks 1 and 2 were compiled by Charles D. Reid and document Reid family history. Scrapbook 3 consists primarily of correspondence between Charles D. Reid and various schools concerning his interest in vocational education and a 1913 paper he wrote on that subject. Scrapbook 4 has had most entries removed and is inscribed by Charles D. Reid's father "Jared Reid Jr., Hartford Ct., Jan. 1880." Charles D. Reid presumably removed the entries to place in Scrapbooks 1-3.

Photographs of Reid include a group of men (circa 1880s) with Reid in the back row, of Reid working on a mural, and a 1927 portrait of Reid. Additional photographs of Reid are found in the scrapbooks. Also found is a copy print of Reid's studio, photographs of Europe, photographs of works of art by Reid, and a photograph of the stage and crowd at an unidentified event.
Arrangement:
Due to the small size of the collection the papers are arranged as one series.

Series 1: Robert Reid Papers, circa 1880-circa 1930 (Boxes 1-2; 0.9 linear feet)
Biographical / Historical:
Robert Reid (1862-1929) was a painter, muralist, craftsman, and teacher who worked primarily in New York City and Colorado.

Robert Reid was born in 1862 in Stockbridge Massachusetts and studied at the School of Painting and Drawing of the Museum of Fine Arts, Boston, from 1880-1884. He then moved to New York City and studied at the Art Students' League before moving to Paris in 1885, where he continued his studies at the Académie Julian over the next four years.

In 1887 Reid embarked on a tour of Italy that included visits to Milan, Venice, Florence, Rome and Naples. On his visits to Naples he was accompanied by several cousins, including Clara Field, who were on an extended European tour. Throughout the year Reid recorded his experiences and impressions in letters to his sister, Sara Bigelow Reid. In March of 1887 he submitted the first of three paintings to the Paris Salon, all of which were subsequently accepted.

In 1889 Reid returned to the United States and settled in New York City, teaching at the Cooper Union and the Art Students' League and painting portraits before embarking on various mural and decorative art projects. His first mural project was for one of the eight domes in the Liberal Arts Building of the World's Columbian Exposition in Chicago in 1892. In 1897 he painted allegories of the five senses for octagonal panels in the Library of Congress, and in 1899 executed a large allegorical mural for the New York Appellate Division Court House. The Boston State House includes three large panels, including "Paul Revere's Ride" and the "Boston Tea Party," painted by Reid between 1901 and 1904. His stained glass work included a 1906 series of ten windows for the Unitarian Memorial Church at Fairhaven, Massachusetts.

During the 1890s Reid's return to outdoor work and his easel paintings demonstrated a balance between decorative and Impressionist techniques, and were often of women in landscape settings holding or carrying flowers. In 1898 he exhibited as one of the Ten American Painters who seceded from the Society of American Artists in favor of a less traditional, more Impressionistic style.

In the 1920s Reid moved to Colorado Springs and taught at the Broadmoor Art Academy. Several years before his death, Reid taught himself to paint with his left hand after suffereing a stroke that resulted in paralysis of his right hand. He died in Clifton Springs, New York, in 1929.

H. Barbara Weinberg's 1975 essay "Robert Reid: Academic 'Impressionist'" (Archives of American Art Journal, Vol 15, No. 1, 1975) was used in the writing of this Biographical Note.
Provenance:
The collection was donated to the Archives of American Art by Joseph Bowdring in 1973. Bowdring purchased the papers along with Reid's paintings.
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:
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Photographs
Citation:
Robert Reid papers, circa 1880-circa 1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.reidrobe
See more items in:
Robert Reid papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-reidrobe
Online Media:

Elizabeth Campbell Fisher Clay papers

Creator:
Clay, Elizabeth Campbell Fisher, 1871-1959  Search this
Names:
Smith College  Search this
Henri, Robert, 1865-1929  Search this
Rothenstein, William, Sir, 1872-1945  Search this
Extent:
1.9 Linear feet
0.057 Gigabytes
Type:
Collection descriptions
Archival materials
Gigabytes
Photographs
Sketches
Sound recordings
Drawings
Travel diaries
Paintings
Sketchbooks
Diaries
Place:
Netherlands -- description and travel
New York (N.Y.) -- Description and views
France -- description and travel
California -- description and travel
England -- description and travel
Date:
circa 1873-circa 2015
bulk 1890-1930
Summary:
The papers of Massachusetts lithographer and etcher Elizabeth Campbell Fisher Clay measure 1.9 linear feet and 0.057 GB and date from circa 1873 to circa 2015, with the bulk of materials from 1890 to 1930. This collection includes biographical materials, correspondence, writings, fifteen diaries, six travel diaries, teaching files, artwork, printed materials, and photographs.
Scope and Contents:
The papers of Massachusetts lithographer and etcher Elizabeth Campbell Fisher Clay measure 1.9 linear feet and 0.057 GB and date from circa 1873 to circa 2015, with the bulk of materials from 1890 to 1930. This collection includes biographical materials, correspondence, writings, fifteen diaries, six travel diaries, teaching files, artwork, printed materials, and photographs.

Biographical materials include ephemera from a Spain trip, and other miscellany.

The bulk of the correspondence consists of letters from artist Robert Henri giving advice and information about travel plans and visits. Other correspondents include family members, the artist William Rothenstein, and a few others.

Writings include annotated appointment calendars, art class notes, notebooks, and a book register. Diaries and travel diaries describe Smith College, feedback from Robert Henri regarding artwork, and travels abroad to England, France, and Holland, as well as to New York and California. There are a few sketches scattered throughout the diaries. There is an audiocassette and digitized photographs and content related to the diaries. There is also an annotated chronological list of the diaries.

Artwork consists of one sketchbook and several folders of loose sketches, drawings, and paintings of people and places.

Printed materials consist of a few news clippings about Smith College, a newspaper image of an art class trip to Spain, 2 reviews of exhibitions, and a clipping about the New York School of Art.

Photographs are of Elizabeth Campbell Fisher Clay, family, friends, artists, travel, and houses. There are three photograph albums: one of the woods around Smith College; another album of travel photographs in France and Holland that includes photographs of Clay and fellow art students painting at various locations; and an album of Paris photographs that depict the studio Clay shared with other students, friends, and a few images of Robert Henri. Some photographs are annotated.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Material, 1906-circa 2015 (0.1 linear feet, 0.001 MB; Box 1, ER01)

Series 2: Correspondence, 1897-1960 (0.1 linear feet; Box 1)

Series 3: Writings and Notebooks, circa 1898-1959 (0.1 linear feet; Box 1)

Series 4: Diaries, 1887-circa 2005 (1 linear feet, 0.016 GB; Boxes 1-2, ER02-ER03)

Series 5: Artwork, circa 1890-circa 1957 (0.3 linear feet, Boxes 2-3, OV 4)

Series 6: Printed Materials, 1894-1957 (0.1 linear feet; Box 3, OV 4)

Series 7: Photographs, circa 1873-1987 (0.2 linear feet; Box 3)
Biographical / Historical:
Elizabeth Campbell Fisher Clay (1871-1959) was a lithographer and etcher who worked in Massachusetts and Halifax, England.

Elizabeth Campbell Fisher Clay was born in West Dedham, Massachusetts in 1871. Her parents were Joseph and Mary Elizabeth Fisher and she had 2 siblings, Hattie and Joseph. Clay graduated from Smith College in Northampton, Massachusetts in 1892. She then attended the Museum of Fine Arts in Boston and the New York School of Art, where she studied under Robert Henri and William Merritt Chase from approximately 1898 to 1909. Around this same time, Clay traveled abroad and studied art in Holland and Spain. She also attended the Art Students League of New York and studied in Paris where she shared a studio with other art students. Robert Henri, whom Clay considered a mentor, regularly visited the Paris studio to review the students' work.

In 1908, Clay had a solo exhibition at Rowland's Gallery in Boston. In 1909, she married Howard Clay in Dedham, Massachusetts. Henry was the alderman of Halifax, England, and the couple moved there sometime after their marriage. They had three children, Howard Fisher Clay, Monica Mary, and Harriet.

Clay continued to exhibit her artwork in England for over 30 years. She exhibited at the British Society of Women Artists, the New English Art Club, the Royal Academy of Arts, the Royal Cambrian Academy of Art, the Royal Society of British Artists, the Women's International Art Club, and the Yorkshire Union of Arts. In Massachusetts, her artwork was in exhibitions at the Boston Art Club, the Copley Society of Art, and other venues.

Elizabeth Campbell Fisher Clay eventually returned to the United States and passed away in Philadelphia in 1959.
Provenance:
This collection was donated to the Archives of American Art in 2015 by Harriet Fisher Bemus, Elizabeth Campbell Fisher Clay's daughter.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washingon, D.C. Research Center. Contact Reference Services for more information. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
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:
Lithographers -- Massachusetts  Search this
Topic:
Women artists -- Massachusetts  Search this
Etchers -- Massachusetts  Search this
Art -- Study and teaching  Search this
Artists' studios -- Photographs  Search this
Genre/Form:
Photographs
Sketches
Sound recordings
Drawings
Travel diaries
Paintings
Sketchbooks
Diaries
Citation:
Elizabeth Campbell Fisher Clay papers, circa 1873-circa 2015, bulk 1890-1930. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clayeliz
See more items in:
Elizabeth Campbell Fisher Clay papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-clayeliz

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