The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Scope and Content Note:
The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.
Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.
Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.
Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.
Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.
Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.
Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.
A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.
There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.
Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.
Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.
Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.
Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.
Arrangement:
The collection is arranged as 10 series; all series are arranged chronologically:
Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)
Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)
Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)
Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)
Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)
Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)
Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)
Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)
Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)
Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)
Biographical Note:
Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.
Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.
Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.
Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.
In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.
Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.
Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.
Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.
Provenance:
Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials 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.
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection.
Scope and Content Note:
The Betty Parsons Gallery records and personal papers measure 61.1 linear feet and date from 1916 to 1991, with the bulk of the material dating from 1946-1983. Records provide extensive documentation of the gallery's operations from its inception in 1946 to its closing in 1983 and of the activities of Betty Parsons as one the leading art dealers of contemporary American Art in the latter half of the twentieth century, particularly the work of the Abstract Expressionists. Over one third of the of the collection is comprised of artists files containing correspondence, price lists, and printed materials. Additional correspondence is with galleries, dealers, art institutions, private collectors, and the media. Also found are exhibition files, exhibition catalogs and announcements, sales records, stock inventories, personal financial records, and photographs. Betty Parsons's personal papers consist of early curatorial files, pocket diaries, personal correspondence, and evidence of her own artwork, including sketchbooks, and files documenting her personal art collection. Personal papers also include personal photographs.
Artists files, the largest and most extensive series, consist of a wide variety of documents, including biographical materials, correspondence with or related to the artist, exhibition catalogs and announcements, sales and expense invoices, clippings, price lists, and photographs of the artist, exhibitions, and artwork. The files reflect Parsons's close personal relationships with certain artists, particularly Jackson Pollock, Mark Rothko, Clyfford Still, and Barnett Newman. Extensive documentation is also found for Forrest Bess, William Congdon, Paul Feeley, Thomas George, Alexander Liberman, Seymour Lipton, Richard Pousette-Dart, Jesse Reichek, and Jack Youngerman. Historians and researchers will find these files to be an invaluable resource both in tracing Betty Parsons's role in promoting Abstract Expressionism and researching individual artists.
Exhibition files primarily document the gallery's infrequent group or themed exhibitions. Of particular note are the files on The Ideographic Picture, which was organized by Barnett Newman and included his work, as well as that of Pietro Lazzari, Boris Margo, Ad Reinhardt, Mark Rothko, Theodoros Stamos, and Clyfford Still. Price lists, artist biographies and exhibition schedules are housed in the general exhibition files. Loan exhibition files provide documentation of artwork borrowed by other galleries or institutions for exhibitions, as well as shows outside of the gallery that were organized by Betty Parsons. Also found are gallery exhibition guest books, and announcements and catalogs.
Gallery correspondence is primarily with galleries and dealers, museums, arts organizations, and collectors. Scattered letters from artists are also found, although the bulk of the artists' correspondence is filed in the Artists Files. Also found here are memoranda and letters between Betty Parsons and her staff that contain detailed information concerning Parsons's schedule and gallery activities. Similar correspondence is found amongst the correspondence files within the series Betty Parsons papers.
Appraisal and conservation files include correspondence, appraisal invoices, forms, and appraisal requests and other information from the Art Dealers Association of America, and conservation invoices and reports. The majority of the appraisal records contain information about the specific works of art, including artist, title, date, current owner and the estimated value at the time of the request. Conservation records document conservation treatments undertaken by outside conservators to gallery stock.
Sales, purchases, stock and inventory are well documented in the sales and inventory records. The records provide detailed information about individual sales, prices of individual pieces of artwork, consignments, and loans. Most sales records also include detailed information about the buyer and are a valuable resource for provenance research. Files documenting the general administration, routine business operations, and financial transactions (not individual sales) of the gallery are housed in the general business and financial records. These records include ledgers, receipts, tax records, and banking records. There is some limited information about works of art scattered amongst the receipts and in the "in/out slips" files. Legal records house general legal documents and those concerning specific lawsuits. Of particular note is the file detailing the lawsuit between Betty Parsons and Sidney Janis over the fifth floor of 24 West 57th Street.
The remainder of the collection consists of Betty Parsons's personal papers which document her career prior to opening her own gallery, her work as an artist, and her personal art collection.
Some information about Parsons's work prior to opening her own gallery is found in the early curatorial files she retained from her curatorial and administrative work at the Wakefield Gallery and the Mortimer Brandt Gallery. Clippings, correspondence, announcements, exhibition lists and exhibition files are found. For both positions, she kept only the exhibition files for a small group of exhibitions organized around a specific theme, the most notable being the exhibition of Pre-Columbian Sculpture at the Wakefield Gallery.
Biographical materials include copies of her biography, family genealogies, photographs of Parsons, interviews with Colette Roberts and WYNC radio, memberships, photographs, and ephemera, including a collection of programs and invitations from events that she attended. Throughout her life Parsons gave generously of her time to various cultural and charitable institutions and was awarded for her contributions. There are also a number of files that document her speaking engagements, her participation as a juror in numerous juried exhibitions, charitable work, and awards that she received.
Parsons's personal correspondence files reflect how deeply Parsons's life was intertwined with the gallery. There are letters from museum directors, dealers, artists seeking representation, and personal letters from artists with whom she had close personal relationships, most notably Larry Bigelow, Alexander Calder, William Condon, and Ad Reinhardt. There are also letters from the English artist Adge Baker, with whom Parsons was romantically involved. Correspondence also includes several files of postcards and Christmas cards.
Pocket diaries and engagement calendars, spanning from 1933-1981, record social engagements, meetings, vacations, and telephone numbers. Also found are circa two linear feet of notebooks and sketchbooks, many of which are annotated with addresses, poetry, journal entries, and other observations of people, places, and travels. Writings by others include writings about Betty Parsons or the Betty Parsons Gallery, such as Lawrence Alloway's unpublished typescript titled "An American Gallery" and other topics.
Printed material consists of exhibition announcements and catalogs, art magazines, and newspaper and magazine clippings about Betty Parsons, her family and acquaintances, artists, and other art related topics, coupled with a miscellaneous selection of clippings, and a video recording, on topics that presumably captured Parsons's attention.
Personal art work records document Betty Parsons's career as an artist through inventories, group and solo exhibitions files, price lists, appraisals, sales and consignment invoices. Photographs are primarily reproductions of her works of art, although there are scattered photographs of exhibition installations.
Betty Parsons's private art collection files document her extensive personal collection of art that included works by Jackson Pollock, Agnes Martin, Romare Bearden, Barnett Newman, and Mark Rothko, in addition to Amlash sculpture from ancient Persia and primitive sculpture from New Hebrides. These files include inventories, lists, exhibition records, sales and purchase invoices, and photographs. There are also files for donations and loans from Parsons's personal collection to museums and fund raising auctions for several non-profit institutions.
Finally, the personal financial records provide information about the Parsons's family finances and her personal financial success as an art dealer. In addition to her own investments, Parsons inherited shares in family investments through the estates of her parents, J. Fred Pierson, Jr. and Suzanne Miles Pierson, and younger sister, Emily Rayner. Real estate files include correspondence, utility bills, receipts, area maps, and land plots for houses in Sheepscot, Maine and St. Maartens, Netherlands Antilles. Tax returns, ledger worksheets, receipts, banking statements, deposit slips, and cancelled checks are among the other financial records.
Arrangement:
The collection is arranged as seven series. Many of the series are further divided into subseries.
Series 1: Artists Files, 1935-1983 (19.4 linear feet; Boxes 1-18, 51, 55-56, OVs 53, 65)
Series 2: Exhibition Files, 1941-1983 (2.9 linear feet; Boxes 18-21, 51, 55, OVs 54, 66)
Series 3: Correspondence Files, 1941-1983 (3.9 linear feet; Boxes 21-24, 52, 56)
Series 4: Appraisal Files, 1954-1983 (0.7 linear feet; Box 24)
Series 5: Sales and Inventory Records, 1946-1983 (3.9 linear feet; Boxes 25-28, 51)
Series 6: General Business and Financial Records, 1946-1983 (9.3 linear feet; Boxes 28-38, 51, 56)
Series 7: Betty Parsons Personal Papers, 1916-1991 (21 linear feet; Boxes 38-51, 55-64, OVs 65-67)
Historical Note:
Betty Parsons (1900-1982) was one of the leading art dealers in New York City specializing in modern art, particularly the work of the Abstract Expressionists, and an abstract painter and sculptor in her own right. She opened Betty Parsons Gallery in 1946 at 15 E. 57th St., later moving to 24 W. 57th St.
The history of the Betty Parsons Gallery is inextricably bound to the life and experiences of its founder. Betty Parsons was born Betty Bierne Pierson on January 31, 1900 in New York City. She enjoyed a privileged childhood, which included vacation homes in Newport and Palm Beach. Her only formal education was a five-year stint at the prestigious Chapin School from 1910-1915, where she met many of the women who would become life-long friends and supporters. In the spring of 1920, she married Schuyler Livingston Parsons from one of New York's oldest families. The marriage ended after only three years and the couple traveled to Paris where they could obtain a divorce on the grounds of incompatibility. She retained her married surname and purchased a house on the rue Boulard in Paris, where she remained for ten years, pursuing studies in painting and sculpture.
Financial constraints forced Parsons to return to the United States in 1933. She first traveled west to California, but it was her return to New York in 1935 that marked the start of her career as an art dealer. Her first opportunity to connect with the New York art world came after a successful exhibition of her watercolors at the Midtown Galleries where the owner, Alan Gruskin, noted Parson's faithful and wealthy group of supporters and offered her work installing exhibitions and selling paintings on commission. Her work for the Midtown Galleries led to a second position in the Park Avenue gallery of Mary Sullivan, one of the founders of the Museum of Modern Art. Here, Parsons learned the business of running a gallery. By 1940 Parsons was ready to take on more independent responsibility and agreed to manage a gallery within the Wakefield Bookshop. In this job, she exercised full curatorial control by selecting artists and organizing exhibitions. She championed then unknown contemporary American artists and the gallery's roster soon included Saul Steinberg, Hedda Sterne, Alfonso Ossorio, Joseph Cornell, Walter Murch, and Theodore Stamos. Although the majority of the exhibitions were solo shows, there were a few group shows and themed exhibitions, such as Love in Art (1941) and Ballet in Art (1942). Under Parson's direction, the gallery hosted an important exhibition of Pre-Columbian sculpture, curated by Barnett Newman.
When the owners of the Wakefield Bookshop decided to close the gallery late in 1944, Mortimer Brandt, a dealer who specialized in Old Master paintings and drawings, offered her a position as head of the newly created contemporary section of his gallery. Many of the artists who had shown with Parsons at the Wakefield Gallery followed her to her new gallery, where they were joined by Ad Reinhardt, Boris Mango, and Hans Hofmann. While the exhibitions garnered attention from the press and the interest of contemporary artists, the contemporary section was not a financial success and Brandt opted to close his gallery in 1946.
Using $1000 of her own money and an additional borrowed $4000, Parsons sublet the space that previously housed Mortimer Brandt's contemporary section, on the fifth floor of 15 East 57th Street, and opened the Betty Parsons Gallery.
In many respects the early years of the Betty Parsons Gallery were the most vital, as it was during the period of 1947-1951 that the gallery became linked with the Abstract Expressionists and the history of post-WWII American Art. In an unpublished history of the gallery, noted art critic Lawrence Alloway stated that the significance of the gallery's early exhibitions ranks with Durand-Ruel's Impressionists exhibitions or Kahnweiler's shows of the Cubists. Betty Parsons Gallery quickly became one of the most prestigious galleries in New York City associated with new American Art of all styles. Her close friend Barnett Newman organized the gallery's inaugural exhibition of Northwest Coast Indian Art and he soon began to exhibit his own work at the gallery. When Peggy Guggenheim's Art of This Century Gallery closed, Jackson Pollock, Clyfford Still, and Mark Rothko joined Parsons' growing stable of artists. Although Parsons continued to promote and exhibit many of the artists whom she had previously discovered, these four artists dominated this period. Newman, Pollock, Still, and Rothko worked closely together, holding themselves apart from the other artists somewhat. They were actively involved in the curatorial process and often hung their own shows. For these artists, the exhibition itself was an artistic act of creation.
Parsons provided a supportive environment and allowed her artists enormous freedom in planning and designing their exhibitions. She was not, however, an aggressive salesperson. During this early period the gallery ledgers document sales to an impressive array of museums including the Museum of Modern Art, the Whitney Museum of American Art, and the Art Institute of Chicago, as well as important collectors such as Edward Root and Duncan Phillips. Nevertheless, the art that the gallery promoted was not yet widely accepted. Sales were few, prices were low and the business would not turn a profit for several years. Meanwhile, there was mounting pressure from Pollock, Newman, Still, and Rothko to drop some of the other artists from Parsons' stable and focus all resources on them. They wanted to be promoted to a larger audience and have their work sold at higher prices, but Parsons enjoyed discovering new artists and did not want to be restricted in this endeavor. The year 1951 marks the last time that Pollock's drip paintings or the monumental works of Newman, Rothko or Still were shown at the Betty Parsons Gallery.
In the following years the Betty Parsons Gallery continued to attract a diverse group of talented artists. Ellsworth Kelly, Richard Tuttle, Robert Rauschenberg, and Jack Youngerman had their first New York exhibitions at the Betty Parsons Gallery. Parsons opened Section Eleven in 1958, a short-lived annex to the main gallery, so that she could promote younger, less well-known artists. It closed in 1960 due to the administrative difficulties in running two essentially separate galleries.
In 1962, Sidney Janis, another prominent art dealer, started proceedings to evict Parsons from the floor that they shared on 15 East 57th Street. The Betty Parsons Gallery moved to 24 West 57th Street in 1963, where it remained until it closed in 1983, following Parsons' death the preceding year. Throughout the gallery's history, Parsons continued to promote faithful artists such as Hedda Sterne and Saul Steinberg, who had been with her from the beginning and to seek out new talent, both for her main gallery and for other venues, such as the short-lived Parsons-Truman Gallery, which she opened in 1974 with former Parsons Gallery director Jock Truman to show works on paper by emerging artists.
In addition to being an art dealer, Betty Parsons was a respected artist and collector. With her connoisseur's eye and connections, Parsons amassed an impressive private collection of art. She bought her first piece while an art student in Paris in the 1920s, a small gouache by Zadkine, but did not begin acquiring works in earnest until she was established as an art dealer. Partial inventories of her personal collection show that the majority of her collection contained works by artists associated with the gallery. Mark Rothko, Hans Hofmann, Ad Reinhardt, Agnes Martin, and Kenzo Okada were among the artists represented. Many were gifts from the artists, such as an ink drawing by Jackson Pollock, inscribed "For Betty." Selections from her collection appeared in small museums across the United States, including a traveling exhibition organized by Fitch College, New York, in 1968. In her role as a promoter of contemporary American art, Parsons lent generously from her collection, particularly to the federal Art in the Embassies Program. Throughout her life she also donated works to a variety of museums, most notably, the Whitney Museum of American Art, Museum of Modern Art, New York, and the Louisiana Museum of Modern Art, Denmark.
Parsons frequently claimed that her desire to pursue a career as an artist stemmed from a visit to the Armory Show when she was thirteen. In her late teens, after pressuring her father for art lessons, she studied with the sculptor Gutzon Burglum of Mount Rushmore fame. In Paris, she continued her studies first with Antoine Bourdelle, whose sculptures she had admired at the Armory Show, and later with Ossip Zadkine. The first exhibition of her work, figurative watercolors and sculptures, took place in Paris in 1927. As she matured as an artist, her art became more abstract. Her late works were painted wood sculptures that she pieced together from wood that she found near her studio in Long Island. Parsons's work was exhibited in more than thirty solo exhibitions, including, Betty Parsons; Paintings, Gouaches and Sculpture, 1955-1968, at the Whitechapel Gallery in London. During her lifetime, she would not allow her works to be shown in her own gallery. Shortly after she died of a stroke in 1982, In Memoriam, Betty Parsons: Late Sculptures, opened at the Betty Parsons Gallery.
Related Material:
Also found in the Archives of American Art are oral history interviews with Betty Parsons, June 4-9, 1969, by Paul Cummings, and June 11, 1981 by Gerald Silk.
Separated Material:
Some of the material originally loaned for microfilming in 1968 and 1969 was not included in later donations and can be viewed on microfilm reels N68/62-N68/74 and N69/105-N69/106. Loaned materials are not described in the container listing in this finding aid.
Provenance:
The gallery donated some records in 1974, many of which had been loaned earlier for microfilming. The bulk of the collection was donated in 1984 and 1986 by William Rayner and Christopher Schwabacher, executors of the Estate of Betty Parsons. Additional material was donated by William Rayner in 1998 and Christopher Schwabacher in 2017. Additional material was donated in 2018 by the Lee Hall estate via Carolyn Crozier and Deborah Jacobson, co-executors. Hall was Parsons's biographer and had the material in her possession at the time of Parsons's death. An additional photograph of Parons and Marie Carr Taylor by Henri Cartier-Bresson was donated in 2021 by Mary Carpenter, who inherited the photograph from her mother, Nan Thorton Jones, who received it as a gift from Taylor.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery owners -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The records of the National Arts Club measure 32.1 linear feet and date from 1898 to 1960. The collection documents the founding of the club, and it's governance, administration, exhibitions, and social activities
Scope and Content Note:
Records of the National Arts Club, spanning the period 1898 to 1960, document the founding of the organization, and its governance, administration, finances, exhibitions, and social activities. There are large gaps in the records and many of those surviving are incomplete, which can be explained by a 1932 resolution of the Board of Governors that "old files and letters and bills in the storeroom prior to 1922 may be destroyed at the discretion of the Secretary and Treasurer."
Minutes and reports of the Board of Governors and Executive Committee are fairly complete through 1949, but sparse thereafter. Records do not exist for all standing and special committees, and those remaining tend to be concentrated in the early twentieth century.
Correspondence of the officers, for the most part, is routine and relates to administrative matters. Financial records cover the period 1917 to 1950, with a large number of gaps.
A small number of records of the Arts Realty Co. (later known as 15 Gramercy Park, Inc.) are extant. These include lists of stockholders, correspondence concerning mortgage bonds, and minutes.
Membership records, arranged alphabetically, are available for the years 1931 to 1959, and there are rosters arranged by membership category, 1940-1952; in addition, printed membership lists were issued circa 1900-1951.
More than four hundred exhibitions are known to have been held in the galleries of the National Arts Club between 1899 and 1960. Catalogs for 124 National Arts Club exhibitions are available at the Archives of American Art; 69 titles are to be found among the Club's records and an additional 55 were microfilmed previously as parts of other collections. Other exhibition documentation includes printed matter such as invitations, entry blanks, publicity, and photographs (see Appendix A). For some exhibitions, supporting documentation such as correspondence with exhibitors and collectors, sales and consignment records, and shipping receipts have survived. These files are mainly confined to Books of the Year exhibitions, Arts and Crafts/Decorative Arts exhibitions, and a smaller number of exhibitions of Living American Etchers, 1928-1957.
General social events, activities sponsored by Arts Club committees, and special commemorative occasions are documented by invitations, programs, publicity, calendars of events, and photographs. The majority of this material is contained in seventeen scrapbooks, 1898-1940. Programs of the Men's Open Table, 1915-1950, are particularly well documented by the Chairman's correspondence and three volumes containing meeting notices with signatures of members in attendance.
In addition to printed matter relating to exhibitions and events, scrapbooks, 1898-1940, contain general publicity, clippings concerning members, and samples of National Arts Club printed matter such as form letters to the general membership, brochures, ballots, house rules, published membership lists, year books, and the like. Loose printed matter augments that preserved in the scrapbooks. These sources combined provide a fairly complete set of the Bulletin, but the number of year books is small, and there are catalogs of only slightly more than a third of the exhibitions identified.
Photographs, in addition to those recording exhibitions and events, include portraits of governors, officers, distinguished visitors, speakers, and performers; views of Gramercy Park and the interior and exterior of the clubhouse; and works of art in the permanent collection.
Miscellaneous material includes information on the National Arts Club's first home on West 34th Street, and the Tilden Mansion, its current clubhouse on Gramercy Park; histories of the organization; unpublished speeches presented at Club occasions; and copies of legal documents, including the Club's charter and act of incorporation.
See Appendix A for an annotated list of National Arts Club exhibitions, 1899-1960
Arrangement:
The records are arranged into the following series:
Series 1: Board of Governors, 1898-1960, undated
Series 2: Administration, 1898-1960, undated
Series 3: Financial Records, 1917-1952
Series 4: Membership, circa 1900-1962
Series 5: Arts Realty Co., 1909-1913, 1945-1956, undated
Series 6: Miscellaneous, 1890-1961, undated
Series 7: Photographs, 1899-1957, undated
Series 8: Printed Matter, 1893-1960, undated
Series 9: Scrapbooks, 1898-1940
Historical Note:
The National Arts Club was founded by Charles de Kay, literary and art critic for the New York Times who believed there was a need for a club uniting all of the arts. In March of 1898, de Kay called together a number of civic leaders and men prominent in the art world who supported the idea, elected the first officers and incorporated the Club in 1899.
As stated in a circular issued by the Club, its specified purposes were: to promote the mutual acquaintance of art lovers and art workers in the United States; to stimulate and guide toward practical and artistic expression the artistic sense of the American people; to maintain in the City of New York a Club House...for social purposes in connection with the arts; to provide proper exhibition facilities for such lines of art, especially applied and industrial art, as shall not be otherwise adequately provided for in the same City; and to encourage the publication and circulation of news, suggestions and discussions relating to the fine arts.
During its initial months, the National Arts Club operated from a temporary office at 156 Fifth Avenue. In the search for a permanent site, considerable care was taken to select an auspicious location and accommodations, and in 1899 the first clubhouse was opened at 37 West 34th Street in leased quarters renovated expressly for the Club. Within a year, the gallery and restaurant required additional space, and there was a desire to provide overnight quarters for members visiting from out of town. In 1901 the Club created a corporation, Arts Realty Co., which issued shares to members and other investors for the purpose of raising funds to purchase the adjacent property (39 West 34th Street). This end was accomplished, and when it was decided to move the Club to another location, proceeds from the sale of the lease on 37 West 34th Street and the lot next door, augmented by additional funds subscribed by members, enabled Arts Realty Co. to acquire the Tilden Mansion at 15 Gramercy Park in 1905. Construction was begun immediately on a connecting studio tower to the rear (119-121 East 19th Street), designed by architect and Club President George B. Post. Upon completion, the Club bought the property from Arts Realty Co., issuing both First and Second Mortgage Bonds to individual subscribers. The Gramercy Park property has been occupied by the Club since 1906.
A show of American gold and silver work in October 1899 was the first exhibition held at the National Arts Club. Decorative arts, crafts, and industrial arts figured prominently in early exhibitions, as did designs for civic improvements. The monthly exhibition schedule emphasized contemporary American art, but also included some historical shows. Members of the public were admitted without charge to the galleries, where they could view such innovative and important exhibitions as Pictorial Photographs presented by the Photo-Secession (1902) and a group exhibition featuring the works of Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (1904). After about 1907, exhibitions grew more conservative, probably reflecting the personal tastes of Art Committee members rather than a formal opposition of the Club to nonrepresentational art. Increasingly, the exhibition schedule was filled by shows of members' work, the Club's permanent collection (mainly works by artist members, usually given in payment for life membership), the Annual Arts and Crafts exhibitions, Books of the Year exhibitions, and shows organized by various art societies.
In addition to exhibitions, the National Arts Club regularly featured a variety of cultural programs such as concerts, lectures, and dramatic presentations for members and guests. Parties, dinner, dances, and other social activities drew members to the Club, too. During its first years, some artist members expressed dissatisfaction with the high priority given social functions; by 1905, J. Carroll Beckwith, Walter Shirlaw, and Stanford White were among those who had resigned for this reason.
Within the National Arts Club there have been some smaller societies. The earliest of these were The Discus, a short lived dining and debating club, and The Vagabonds, a lunch group of writers, editors, printers and illustrators. The Men's Open Table, founded in 1910, met weekly for more than forty years for dinner followed by a talk, given by a fellow member or an outside, often professional, lecturer. A wide range of topics, not necessarily on the arts, were presented and discussed at the Men's Open Table. The American Institute of Graphic Arts is one of the organizations said to have developed from associations formed and discussions held at the Men's Open Table. A Women's Open Table, patterned after the men's, was established later.
The National Arts Club, unlike many other private clubs founded during the same era, admitted women members from its inception. Throughout its history, the Club's membership has been comprised of artists, musicians, writers, and performers, as well as collectors and supporters of the arts drawn from all parts of the country. Membership peaked at around 1,800 in 1920, declining throughout the Depression and again in the mid-1950s, and remaining at about 600 for the next two decades.
1898 -- Founding; occupied temporary office at 156 Fifth Ave.
1899 -- Incorporation; leased clubhouse at 37 West 34th St.; opened first exhibition, American Gold and Silver Work
1900 -- Constitution adopted
1901 -- First donations to permanent collection; Arts Realty Co. formed for the purpose of acquiring and financing the adjacent property (39 West 34th St.)
1905 -- Arts Realty Co. purchased Gramercy Park property (Tilden Mansion) on behalf of NAC; remodeling of clubhouse and construction of studio tower begun
1906 -- Plan for financing new clubhouse approved; second Mortgage Bonds issued; clubhouse and studio tower occupied; First Annual Books of the Year Exhibition
1907 -- Annual Members' Exhibition initiated; Bulletin began publication
1910 -- First meeting of Men's Open Table (established 1909)
1914 -- Essay contest, "A Critical Estimate of the Altman Collection"
1917 -- American Artists War Emergency Fund Committee issues art stamp
1923 -- Junior Artist membership category created
1930-1931 -- Essay contest, "Soul of America"
1940 -- Works by deceased artist life members deaccessioned from permanent collection; fund for refugee artists established
1962 -- Clubhouse designated New York City Landmark
1976 -- Clubhouse designated National Historic Landmark
1987 -- NAC records donated to Archives of American Art
Appendix A: Annotated List of National Arts Club Exhibitions, 1899-1960:
* = photographs included with records of NAC (See pp. 22-23 for reel and frame numbers)
+ = photograph in NAC album (See pp. 24 for reel and frame numbers)
x = catalog, checklist, or printed announcement included with NAC printed matter
s = copy of catalog in NAC scrapbook (volume number noted, see pp. 27-32 for reel and frame numbers of each volume)
Microfilm reel and frame numbers (e.g.: N134:416-419) are cited below for NAC catalogs appearing in other collections within the Archives of American Art.
DateExhibitionOct. 30 *, 1899 -- House Warming, Exhibition of American Gold and Silver Work
Nov. 13-18, 1899 -- Tenth Exhibition of the Woman's Art Club; Reception to Miss Cecilia Beaux (N134:416-419)
Nov. 27-Dec. 10, 1899 -- Art Pottery, American, Oriental, and European (N134:407-415)
Dec. 23-Jan. 8, 1899 -- Exhibition of Small Bronzes (N134:437-443)
Jan. 13, 1900 -- Exhibition of Photographs, works by members of the Society of Mural Painters
Jan. 29, 1900 -- Design for Street Refuge, shown by New York Municipal Art Society
Feb. 5-22, 1900 -- Exhibition of Embroideries and Native Rugs (N134:420-425)
Feb. 24-Mar. 10, 1900 -- John Leslie Breck Memorial Exhibition (N443:703-708; N551:719-724)
Mar. 24-Apr. 14, 1900 -- Pastel Exhibition, American Work
Apr., 1900 -- Old and Modern Japanese Prints
Apr. 14-21, 1900 -- Ernest Tarleton Memorial Exhibition
Apr. 21-May 3, 1900 -- Exhibition of Color Reproductions, American and European
May 10-21, 1900 -- American Art Leatherwork (N134:432-426)
May 24-30, 1900 -- Small Exhibition of Japanese Water Colors
May 31-June 14, 1900 -- William Hamilton Gibson Memorial Exhibition
June, 1900 -- New York Municipal Art Society Competition
Nov. 28-Dec. 19 x, 1900 -- Arts and Crafts (N134:421-431)
Jan., 1901 -- Birds and Beasts in Art
Feb., 1901 -- Art Leatherwork and Objects Relating to the Hearth
Mar., 1901 -- Works by the Society of Mural Painters
Apr., 1901 -- Books and Bookmaking
Apr., 1901 -- Howard Walter, Water Colors Taken in Europe
May, 1901 -- Glass in the Arts
May, 1901 -- Memorial to John A. Fraser, His Paintings
May-Nov., 1901 -- Arts and Crafts in the Liberal Arts Building, Pan-American Pacific Exhibition, Buffalo, N.Y.
June-Sept., 1901 -- Sculpture, Oil Paintings, Pastels, Water Colors, and Objects of Industrial Art by Members of the Club
Oct., 1901 -- Memorial Window for the Ames Family by John La Farge
Nov., 1901 -- Annual Exhibition of Paintings and Sculpture by the Woman's Art Club
Dec., 1901 -- Objects Shown at the Pan-American Pacific Exposition
Jan., 1902 -- Ecclesiastical Art
Feb., 1902 -- Art Objects Relating to Civic Art, under the auspices of the Municipal Art Society
Mar., 1902 -- American Pictorial Photographs, shown by the Photo-Secession
Mar. 26-Apr. 21, 1902 -- Fourth Annual Exhibition of the National Sculpture Society (N551:725-729; N134:446-451)
May, 1902 -- Pictures of "Womanhood"
May, 1902 -- Memorial Window for Baltimore by D. Maitland Armstrong; Memorial Window for Wells College by Mrs. Ella Condie Lamb June Window in Stained Glass, Memorial to Julia Doane, Chicago, by John La Farge
Oct., 1902 -- Collection of Objects in Metal; Artistic Bird Cages lent by A. W. Drake, Esq.
Nov., 1902 -- Annual Exhibition by the Woman's Art Club
Nov., 1902 -- Paintings by Four Western Artists, Messrs. Duveneck, Steele, Meakin and Sharp, through the courtesy of the Cincinnati Museum Association
Dec., 1902 -- Designs Submitted for Competition for the Emblem of the Louisiana Purchase Exposition
Jan. s, 1903 -- Portraits of Napoleon, lent by John Leonard Dudley, Jr., Esq. (volume 4)
Jan., 1903 -- "Autumn," Stained Glass Window for the country residence of William C. Whitney, by John La Farge
Feb., 1903 -- Eskimo and Arctic Objects, with Paintings from the Arctic and Antarctic Circles by Frank Wilbert Stokes
Mar., 1903 -- Objects of Municipal Art
Apr., 1903 -- Examples of Ideal Art by American Artists
May, 1903 -- Sculptures by Rodin, Roche, and Rivere, belonging to Miss Lois Fuller
May, 1903 -- Portraits and other Paintings by American Artists of the Colonial and Early Periods
June-Oct., 1903 -- Summer Exhibition of Paintings, Water Colors, and Sculpture by Members of the Club
Nov., 1903 -- Jewelry and Precious Stones, Modern, Old and Oriental
Dec. 1-14, 1903 -- Thirteenth Annual Exhibition of the Woman's Art Club (N134:452-456)
Dec., 1903 -- Stained Glass Window, designed by Miss Mary E. Tillinghast
Dec., 1903 -- Sketches for the Sculpture at the Louisiana Purchase Exposition, shown by the National Sculpture Society
Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Eminent American Painters (N134:426-464, and volume 4)
Jan. 5-16 s, 1904 -- Loan Exhibition of Pictures by Robert Henri, William Glackens, George Luks, Arthur B. Davies, and Maurice Prendergast (volume 4)
Feb., 1904 -- Pictures by Contemporary American Artists
Mar. 2-15, 1904 -- Loan Exhibition of Pictures by American Figure Painters (N50:471-472; N134:460-461)
Mar., 1904 -- Annual Exhibition of Objects of Municipal Art
Apr. 5-15 s, 1904 -- Loan Exhibition of Pictures by Some Boston Artists (N443:713-715, and volume 4)
Apr. 19-30 s, 1904 -- Loan Exhibition of Pictures by Old Masters, lent by the Messrs. Durand-Ruel (N443:711-712; N134:462-464, and volume 4)
May 3-14 s, 1904 -- Oil Paintings, Water Colors, and Drawings by John La Farge, N.A. (volume 4)
May, 1904 -- Photographs of Paintings by Old Italian Masters, under the auspices of the Library Committee
Oct., 1904 -- Work of Holders of the Lazarus and Reinhart Scholarships executed while at the American Academy in Rome
Nov., 1904 -- "The Moral and Divine Law," painting by John La Farge
Nov., 1904 -- Exhibition by Members of the Nippon-Bijitsuin (Japanese Art Academy)
Jan., 1905 -- Exhibition by the Lyme Group of Painters
Feb., 1905 -- "Old Masters" and Aphrodite
Feb., 1905 -- Pictures by Some Boston Artists
Mar., 1905 -- Annual Exhibition of the Municipal Art Society of New York
Apr., 1905 -- Artistic and Commercial Posters, under the Auspices of the Municipal Art Society
Apr., 1905 -- Textiles and Ceramics
Oct., 1905 -- "Out of Doors" as Seen by Various Artists
Nov., 1905 -- Color Prints by S. Arlent-Edwards
Dec., 1905 -- American Indians as Seen by the Artist and the Artist Photographer
Jan., 1906 -- Birds and Beasts in Art
Feb., 1906 -- Miniatures
Mar., 1906 -- Fifth Annual Exhibition of the Municipal Art Society
Mar., 1906 -- Exhibition by the Alumni of Cooper Institute
Apr. 2-14 s, 1906 -- Municipal Art Society Exhibit of Poster Designs (volume 4)
Apr.-May, 1906 -- Exhibition by the Women's Art Club of New York
Nov. 8-18 s, 1906 -- Opening Exhibition [first exhibition in new quarters]: American Paintings from the Collection of Mr. William T. Evans (D45:29-34, and volume 4)
Dec., 1906 -- Books of the Year
Dec. 8-Jan. 1 s, 1906 -- Pictures by Some American Painters (volume 4)
Jan. 12-Feb. 1 s, 1907 -- Modern German Paintings from the Collection of Mr. Hugo Reisinger (N443:716-717, and volume 4)
Feb. s, 1907 -- Exhibition of Wood Engravings by Timothy Cole made for Century Magazine
Feb., 1907 -- Longfellow Memorial
Mar. 13-31, 1907 -- Sixth Annual Exhibition of the Municipal Art Society of New York
Apr., 1907 -- New York Society of Ceramic Artists
Apr., 1907 -- Paintings and Sculpture by Members
May s, 1907 -- Exhibition of Artists' Preliminary Sketches
May-Nov., 1907 -- Sketches by Members
Oct. 16-Nov. 16 s, 1907 -- Fall Exhibition of Sketches by Members (volume 4)
Nov. 20-Dec. 11, 1907 -- Arts and Crafts Exhibition (N29:1001-1026)
Dec., 1907 -- Second Annual Exhibition of the New Books of the Year
Jan. 4-25 s, 1908 -- Contemporary Art (N443:744-746, and volume 5)
Feb., 1908 -- First Annual Exhibition of Advertising Art
Nov. *, 1908 -- Third Annual Exhibition of Books of the Year
Dec., 1908 -- Arts and Crafts Exhibition
Jan., 1909 -- Second Annual Exhibition of Advertising Art
Jan., 1909 -- Small Exhibition of Paintings and Drawings by Contemporary Artists
Feb. 2-20 s, 1909 -- International Exhibition of Pictorial Photography (volume 1)
Feb. 23-Mar. 17 s, 1909 -- John W. Alexander Retrospective Exhibition (volume 5)
Apr., 1909 -- Exhibition of the New York Society of Keramic Arts
May, 1909 -- Spring Exhibition of Members' Work
July, 1909 -- Paintings from the Collection of Mr. and Mrs. William T. Evans
Sept.-Oct., 1909 -- Three Centuries of New York, under the auspices of the Hudson-Fulton Celebration
Nov. 3-26 s, 1909 -- Fourth Annual Exhibition of Books of the Year (volume 5)
Dec., 1909 -- Third Annual Exhibition of Arts and Crafts
Jan., 1910 -- William M. Chase Retrospective Exhibition
Feb., 1910 -- Exhibition of American Landscape Painting
Mar. 2-28 s, 1910 -- Exhibition of Paintings by Louis Mark, of Budapest (volume 5)
Apr. 6-30 s, 1910 -- Exhibition of Paintings by Alfred East, of London (N134:465-469, and volume 5)
May, 1910 -- Exhibition of Household Art, under the auspices of the Domestic Training Department of the Public Schools
May 4-Oct. s, 1910 -- Third Annual Exhibition of the Former Students of the Art Students League (volume 5)
Oct. 20-Nov. 1 s +, 1910 -- Third Annual Exhibition of Advertising Art (volume 5)
Nov.-Dec., 1910 -- Fifth Annual Exhibition of Books of the Year
Dec. * +, 1910 -- Fourth Annual Arts and Crafts Exhibition
Jan. 5-Feb. 3 s +, 1911 -- First Annual Artist Life Members' Exhibition (volume 5)
Feb. +, 1911 -- Exhibition of the New York Society of Keramic Arts
Feb. 11-Mar. 10, 1911 -- Circuit Exhibition of Contemporary Art (D12:437-439; N52:105-107)
Mar. 8-Apr. 5 * s +, 1911 -- Paintings and Drawings by Walter Shirlaw, N.A. (N52:967-973, and volume 5)
Apr., 1911 -- Exhibition of the Municipal Art Society of New York
Apr. 26-May * s +, 1911 -- Group Exhibition of Paintings: William R. Derrick, Reynolds Beal, Frederick J. Waugh (volume 5)
Oct. 25-Nov. 4 * +, 1911 -- Exhibition of Color Schemes and Model Rooms in Miniature
Nov. 8-30 * +, 1911 -- Sixth Annual Exhibition of Books of the Year
Dec. 7-28 * +, 1911 -- Fifth Annual Arts and Crafts Exhibition
Jan. 3-28 s +, 1912 -- First Prize Exhibition of Artist Life Members (N443:754-756, and volume 6)
Jan. 31-Feb. 18 * s +, 1912 -- Otto Walter Beck Exhibition (volume 6)
Feb. 21-Mar. 10 s +, 1912 -- Etchings of E. T. Hurley (volume 6)
Mar. 13-20 s +, 1912 -- National Park Pictures Collected and Exhibited by the Department of the Interior (volume 3)
Apr. 4-21 s +, 1912 -- Paintings, Embroideries, and Tapestries from the Collection of Mr. Emerson McMillan (D45:462-468; N443:757-762, and volume 6)
Apr. 4-Mar. 12 s, 1912 -- Exhibition of Original Dickens and Thackeray Drawings by Harry Furniss (volume 3)
May 8-June 1 * s +, 1912 -- Sculpture Exhibition (volume 6)
June 4-8 +, 1912 -- Exhibition of Industrial Art, under the auspices of The School Art League and the Art Departments of the City High Schools
June-Oct., 1912 -- Summer Exhibition of Painting and Sculpture
Oct. 16-Nov. 12 +, 1912 -- Third Special Exhibition of the Society of Illustrators
Nov. 13-29, 1912 -- Seventh Annual Exhibition of Books of the Year
Dec. 4-28 +, 1912 -- Sixth Annual Exhibition of the National Society of Craftsmen
Jan. 8-Feb. 9 +, 1913 -- Work of the Painter, Sculptor, and Architect Members (N443:763-767; N50:126-130)
Feb. 12-Mar. 9 * +, 1913 -- Exhibition of Works by the Late Frederick Warren Freer
Mar. 12-31 +, 1913 -- The Applied Arts of Germany
Apr. 2-27 +, 1913 -- Small Works by Six Painters: Richard E. Miller, Frederick Carl Frieseke, Charles W. Hawthorne, William Wendt, William Ritschel, and Elise Dodge Pattee
Apr. 30-June 1 +, 1913 -- Small Marbles and Bronzes (N551:732-737)
May-June, 1913 -- Summer Exhibition of Paintings and Sculpture
Oct. 15-Nov. 9, 1913 -- Society of Illustrators
Nov. 12-28, 1913 -- Eighth Annual Exhibition of Books of the Year
Dec. 3-28 * +, 1913 -- Seventh Annual Exhibition of the National Society of Craftsmen
Jan. 8-Feb. 1 +, 1914 -- Work of Painter, Sculptor, and Architect Members
Feb. 4-21, 1914 -- The Pastellists
Feb. 5-Mar. 21 x +, 1914 -- Contemporary Art
Mar. 11-29 * +, 1914 -- Hungarian Peasant Art (N134:470-479)
Apr. 1-May 2 +, 1914 -- Paintings by Eleven Western Artists
May 6-31 * +, 1914 -- Exhibition of Small Sculpture (N551:738-743)
June-Sept., 1914 -- Paintings
Nov. 4-27, 1914 -- Ninth Annual Exhibition of Books of the Year
Dec. 3-28 +, 1914 -- Eighth Annual Exhibition of National Society of Craftsmen
Jan. 7-31 +, 1915 -- Work of Painter Members (N551:744-746)
Feb. 4-25 +, 1915 -- Forty-eighth Annual Exhibition of American Water Color Society
Mar. 3-24 +, 1915 -- Portraits (N551:747-748)
Apr. 7-13 +, 1915 -- Sculpture
May 5-21, 1915 -- Exhibition of Municipal Art Society
June-Oct. *, 1915 -- Work of Painter Members
Oct. 13-30 +, 1915 -- Fifth Special Exhibition of the Society of Illustrators
Nov. 5-13 +, 1915 -- American Wood Engraving, under the auspices of the American Institute of Graphic Arts
Nov. 17-Dec. 3, 1915 -- Tenth Anniversary Exhibition of Books of the Year
Dec. 8-30 +, 1915 -- Ninth Annual Exhibition of the National Society of Craftsmen
Jan. 6-28 +, 1916 -- Work of Painter Members
Feb. 3-27 +, 1916 -- Forty-ninth Annual Exhibition of American Water Color Society
Mar. 2-25 * +, 1916 -- Loan Exhibition of Portraits of Academicians and Associates Selected from the Permanent Collection of the National Academy of Design (N551:749-752; N134:480-483)
Mar. 28-Apr. 14 +, 1916 -- One Hundred American Paintings by the American Institute of Graphic Arts (N443:768-770)
Mar. 28-Apr. 14 +, 1916 -- Exhibition of American Printing
Apr. 19-May 6, 1916 -- Exhibition of the Municipal Art Society
Nov., 1927 -- Twenty-second Annual Exhibition of Books of the Year
Dec. 7-24 +, 1927 -- Fifth Annual Exhibition of Works of Living American Etchers (N552:13-18)
Jan., 1928 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 8-29 +, 1928 -- Small Paintings
Mar. 8-31 x, 1928 -- Exhibition of Decorative Arts
Apr. 4-20 +, 1928 -- Exhibition by Junior Artist Members of the Club
Nov., 1928 -- Twenty-third Annual Exhibition of Books of the Year
Dec., 1928 -- Small Paintings
Jan. 8-Feb. 8 + -- Members' Annual Exhibition of Painting and Sculpture
Feb. 13-Mar. 8 -- Sixth Annual Exhibition by Living American Etchers
Mar. + -- Richard M. Hurd Loan Exhibition of Italian Primitives
Apr. 3-26 + -- Exhibition by Junior Artist Members of the Club
May 1-Oct. 1 + -- Summer Exhibition by Painter Life Members
Nov. -- Twenty-fourth Annual Exhibition of Books of the Year
Dec. 4-26 * + -- Exhibition of the Decorative Arts
Jan. 8-Feb. 1 +, 1930 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 5-28 x +, 1930 -- Seventh Annual Exhibition of Living American Etchers
Mar. 5-28 +, 1930 -- Junior Artist Members' Exhibition
Apr. 16-Sept. 30 +, 1930 -- Members' Exhibition of Small Paintings (N134:484-490)
Nov., 1930 -- Silver Anniversary Exhibition of Books of the Year
Dec. 3-26 * +, 1930 -- Eighth Annual Exhibition by Living American Etchers
Jan. 7-Feb. 6 +, 1931 -- Members' Annual Exhibition of Painting and Sculpture
Mar. 4-27 +, 1931 -- Exhibition by the Junior Artist Members
Mar. 13-Apr. 15 x, 1931 -- Auction Exhibition and Sale by Artist Members
Apr. 1-25 +, 1931 -- Members' Work of the New York Water Color Club
May 2-24 +, 1931 -- The Story of Gramercy Park in Portraits and Historical Objects of the Period, in connection with Gramercy Park Centenary Celebration
June 3-Oct. 1 +, 1931 -- Members' Exhibition of Small Paintings
Oct. 21-Nov. 20, 1931 -- Twenty-sixth Annual Exhibition of Books of the Year
Nov. 26-Dec. 26, 1931 -- Sixteenth Annual Exhibition by the Society of American Etchers (formerly The Brooklyn Society of Etchers)
Jan. 6-13 +, 1932 -- Members' Annual Exhibition of Painting and Sculpture
Feb. 3-27 +, 1932 -- Exhibition of Drawings by Artist Members
Mar. 2-26 +, 1932 -- Paintings by Junior Artist Members
Mar. 13-Apr. 15 +, 1932 -- Auction Exhibition and Sale by Artist Members
Apr. 20-30 +, 1932 -- Exhibition by a Group of New York Art Schools
May 4-Oct. 1 +, 1932 -- Members' Annual Exhibition of Small Paintings
Jan. 4-27 +, 1933 -- Members' Annual Exhibition of Painting and Sculpture
Mar. 1-31 +, 1933 -- Junior Artist Members
Apr. 5-22 +, 1933 -- Society of Illustrators
May 3-Oct. 1 +, 1933 -- Members' Exhibition of Small Paintings and Sculpture
Jan. 3-27 +, 1934 -- Members' Annual Exhibition
Jan. 31-Mar. 2 +, 1934 -- Memorial Exhibition of a Group of Former Painter and Sculptor Members: Max Bohm, Emil Carlsen, Charles Hawthorne, Robert Henri, Karl Bitter, Solon Borglum, Daniel Chester French, Edmund Quinn
Mar. 7-29 +, 1934 -- Junior Artist Members
Apr. 4-27 +, 1934 -- Society of Illustrators, Thirty-second Annual Exhibition
May 2-June 28 +, 1934 -- Members' Exhibition of Small Paintings and Sculpture (N552:69-71; N134:491-494)
Nov.-Dec., 1934 -- Seventeenth Annual Exhibition of the Society of American Etchers (formerly The Brooklyn Society of Etchers) (N552:49-65)
undated -- Twenty-ninth Annual Exhibition of Fifty Books of the Year
Apr. 24-May 3 +, 1940 -- Flower and Still Life Paintings
May 8-June 1, 1940 -- Special Exhibition of Water Colors, Architectural Renderings, Type Compositions, and Color Reproductions by Edwin Hooper Denby, A.I.A., S.A.D.G. (N443:779-780; N134:509-510)
Dec. +, 1940 -- Twenty-fifth Annual Exhibition of the Society of American Etchers
Feb. 4-Mar. 1, 1942 -- Exhibition of Paintings by Artists of the United Nations (N134:512-518)
June 12-Sept. 30, 1942 -- Members' Summer Exhibition (N134:519)
Dec. 16-Jan. 22, 1942 -- Exhibition of Chinese and Indian Art (N134:520)
Mar. 31-, 1943 -- Exhibition of Junior Members (N134:521)
July 1-Sept. 30, 1943 -- Summer Exhibition of Smaller Paintings by Members (N134:522)
Feb. 17-Mar. 15, 1944 -- Exhibition of Studies by American Masters (N134:523)
Oct. 5-27, 1944 -- Exhibition of Enlarged Photographs of American Patriots as Seen in Sculpture (N134:523)
Jan. 10-Feb. 9 x, 1945 -- Members' Annual Exhibition of Painting and Sculpture
Dec. 22-Jan. 4, 1945 -- Seventh Annual Exhibition of the American Veterans Society of Artists, Inc. (N134:527-540)
May 21-30, 1946 -- The Traphagen School Exhibition of Costume Design, Illustrating the Development of American Fashion (N134:526)
Feb. 20-Mar. 7, 1947 -- Exhibition of Contemporary Chinese Paintings (N134:541)
Apr. 20-May 2, 1947 -- Junior Members' Exhibition
Dec. 10-24, 1947 -- Ninth Annual Exhibition of American Veterans Society of Artists, Inc. (N121:721-733)
Feb. 23-Mar. 6, 1948 -- Forty-seventh Annual Exhibition of the New York Society of Ceramic Arts (N134:543)
Mar. 9-21, 1948 -- Annual Exhibition of Junior Members (N134:543)
Apr. 8-May 30, 1948 -- Fiftieth Anniversary Exhibition of Painting and Sculpture by Members, Past and Present (N134:543)
June 10-Sept., 1948 -- Members' Summer Exhibition (N134:544)
Jan. 19-Feb. 9, 1949 -- Fifty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists (N134:544)
Mar. 14-31, 1949 -- Exhibition by Members of the Federation of Modern Painters and Sculptors (N134:545)
May 5-Sept. 15, 1949 -- Members' Summer Exhibition (N134:546)
Oct. 15-Nov. 4, 1949 -- Fourth Annual Exhibition of the Photo-Engravers Society
Jan. 4-Feb. 1, 1950 -- Fifty-second Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (N134:546-548 and 550)
Jan. 28-Feb. 19, 1950 -- Eighty-third Annual Exhibition of the American Water Color Society (N134:549)
Feb. 8-23, 1950 -- Exhibition of Creative Art Associates (N134:549)
Mar. 16-Apr. 2, 1950 -- Exhibition of Room Interiors Especially Designed by Members of the American Institute of Decorators, in collaboration with Members of the National Society of Mural Painters (N134:551)
May 7-28, 1950 -- Active Members' Exhibition (N134:551-554)
June 28-Sept. 15, 1950 -- Members' Summer Exhibition (N134:555)
Feb. 26-Mar. 17 x, 1951 -- Paul Mommen
Mar. 24-Apr. 19, 1951 -- Exhibition of Paintings by Non-Members (N134:558-559)
May 5-31, 1951 -- Spring Water Color Exhibition (N134:560)
June 6-, 1951 -- Group Exhibition by Distinguished Artist Members: Gifford Beal, Louis Betts, Charles Clapman, Walter Farndon, Albert Groll, Eugene Higgins, Leon Kroll, Van Dearing Perrine, Keith Shaw Williams
Jan. 6-30, 1952 -- Fifty-fourth Annual Exhibition of Paintings and Sculpture by Members and Guest Artists (D176:917-919; N134:561)
Feb. 9-28, 1952 -- Annual Water Color Exhibition (N134:562)
Mar. 9-27, 1952 -- Exhibition of Oil Paintings by Distinguished American Artists (N134:572)
Jan. 4-18, 1953 -- Fifty-fifth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:563)
Jan. 25-Feb. 8, 1953 -- Annual Water Color Exhibition (N134:564)
Feb. 15-Mar. 1, 1953 -- Open Exhibition of Oil Paintings (N134:565-568)
Mar. *, 1953 -- Art of Indonesia
May 3-24, 1953 -- Members' Exhibition of Smaller Paintings in Oil (N134:569-571)
Nov. 1-14, 1954 -- The American Artists Professional League, American Art Week (N121:258-259)
Oct. 2-19, 1955 -- Open Water Color Exhibition
Jan. 8-22 x, 1956 -- Fifty-eighth Annual Exhibition by Painter and Sculptor Members and Guest Artists (N134:573-575)
June 17-Sept. 7 x, 1956 -- Members' Summer Exhibition
Sept. 24-Oct. 8 x, 1956 -- James H. Walsh
Oct. 28-Nov. 10 x, 1956 -- Small Picture Exhibition by Members and Guests
Nov. 16-30 x, 1956 -- August Benziger
Dec. 5-22 *, 1956 -- Fiftieth Anniversary Exhibition of Books of the Year
Jan. 6-27, 1957 -- Fifty-ninth Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Feb. 1-15, 1957 -- Catherine Lorillard Wolfe Art Club Sixtieth Annual Exhibition (N134:576-577)
Sept. * x, 1957 -- International Exhibition of Painting and Sculpture
Jan. 10-24 x, 1958 -- Sixtieth Annual Exhibition of Painting and Sculpture by Members and Guest Artists
May 21-31 x, 1958 -- Water Color and Graphic Arts Exhibition by Members and Non-Members
Oct. 17-31 x, 1958 -- Twelfth Annual Exhibition of the Photo-Engravers Society
Nov. 22-Dec. 3 x, 1958 -- Metropolitan Young Artists Show
Jan. 11-26 x, 1959 -- Sixty-first Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Dec. 9-Jan. 7 x, 1959 -- Metropolitan Young Artists Show
Jan. 15-28 x, 1960 -- Sixty-second Annual Exhibition of Painting and Sculpture by Members and Guest Artists
Apr. 18-May 1, 1960 -- Catherine Lorillard Wolfe Art Club Flower Painting Exhibition and Sale (D176:1128-1129)
June 8-29 x, 1960 -- Summer Exhibition of Painting and Sculpture by Members
undated -- * Arts and Crafts Exhibitions
undated -- * x Annual Exhibitions of Books of the Year
undated -- * Ceramic Art Exhibition
undated -- x Water-Oils by Charles S. Chapman, N.A.
undated -- x Fine Art of the Caribbean
undated -- x Painters of the United States, 1720-1920, from the Permanent Collection of the Fine Arts Department, International Business Machines Corp.
undated -- * Pottery Exhibition
undated -- * Traveling Exhibition of Enlarged Photographs of Sculpture and Spring Exhibition of Small Sculpture by Members of the National Sculpture Society
undated -- * Exhibition of Small Sculpture
undated -- x Modern Tapestries from Vienna
undated -- x Annual Open Water Color Exhibition
undated -- x Catherine Lorillard Wolfe Art Club, Flower Paintings Exhibition and Sale
These citations were compiled from Art Index, 1929-1960; The New York Times Index, 1898-1960; Poole's Index to Periodical Literature, 1898-1906; Nineteenth Century Readers' Guide to Periodical Literature, 1898-1899; and Readers' Guide to Periodical Literature, 1900-1960, using the format employed in Art Index. Citations are presented in chronological order, as it is anticipated that most researchers consulting the National Arts Club Records will be interested in a specific event or era in the Club's history, or are apt to be researching artists whose National Arts Club affiliation or exhibition activities were confined to a particular period.
1898
National Art Club. -- Harpers Weekly -- 42:329, April 2.
1899
Club to advance art industries. -- Critic -- 34:349-51, April.
National Arts Club organized. -- New York Times -- (7-2), 29-288-2, April 26.
1909
Position as a factor in the encouragement of the fine arts. G. Teall. -- Craftsman -- 15:604-13, February.
Club officials rule a member may take a process server into club as a guest to serve papers on fellow member, case of R.S. Perrin vs. D. Whipple. -- New York Times -- 7:3, June 29.
1913
Lecture of Prof. Eucken on Art and Morality. -- New York Times -- 9:3, March 1.
Offers prize to member who writes best manuscript on "A Critical Estimate of the Altman Collection." -- New York Times -- 12:7, November 8.
Annual exhibition of Books of the Year; organization of American Institute of Graphic Arts planned. -- New -- York Times 9:3, November 13.
1914
Alexander de Yourevitch has visited Russian political exiles as agent from the Czar; arranges for Russian trade exhibit in New York; National Arts Club has agreed to cooperate. -- New York Times -- 20:2, March 27.
Dinner in honor of Shakespeare celebration, address by Henry Clews. -- New York Times -- 13:2, April 24.
Farewell dinner to Karl Vollmoeller and George Sylvester Viereck at National Arts Club by Alfred Rau. -- New York Times -- III, 7:3, May 7.
Exhibition of Books of the Year (editorial). -- New York Times -- VI, 514:2, November 22.
1915
Awards announced. -- New York Times -- 10:1, January 7.
Paintings exhibition. -- New York Times -- V, 11:13, January 10.
Poster exhibition. -- New York Times -- III, 2:5, March 28.
Thanksgiving dinner to east side waifs. -- New York Times -- 11:1, November 26.
1917
Annual exhibition; Gold Medal and $1000 prize awarded to Ben Foster. -- New York Times -- 10:6, January 4.
Memorial services for W.B. Howland. -- New York Times -- 7:3, March 3.
Offers prizes for best patriotic medal, poem, and song. -- New York Times -- 9:14, April 6.
Offers prizes to promote expression of American patriotism in art. -- New York Times -- IV, 13:2, April 15.
H.A.W. Wood speaks at distribution of prizes. -- New York Times -- 11:3, May 31.
"Road to France," $500 prize offered for appropriate music. -- New York Times -- 13:2, June 9.
American Artists' War Emergency Fund Committee announces that art stamp will be sold to aid artists reduced in circumstances through the war. -- New York Times -- 13:6, July 10.
Offers prize of $500 for best musical setting for D.M. Henderson's "The Road to France." -- New York Times -- VIII, 9:3, August 12.
Prize for music for war song by D.M. Henderson is awarded to Signe Lund. -- New York Times -- 13:3, November 1.
1919
Annual books exhibition. -- New York Times -- VIII, 686:1, November 23.
1921
Comment on suggestion by G. Bellows that proposed members should possess some work by living American artist. -- New York Times -- III, 20:3, February 6.
Elects governors. -- New York Times -- 9:2, April 13.
1922
Awards Agar prize to Christine Herter. -- New York Times -- 16:7, April 7.
Address by Ann Martin. -- New York Times -- 4:3, August 3.
1923
Annual exhibition of books; I. Zangwill speaks; protest by member. -- New York Times -- 6:1, November 8.
1924
Prize winners of annual exhibition. -- New York Times -- 4:15, January 10.
Honors J.G. Agar at dinner. -- New York Times -- 6:2, February 26.
1925
Mural panels of Old NY used for New Year's fete to be put on exhibition. -- New York Times -- 29:1, January 4.
Announces prize winners at Members' Annual Exhibition. -- New York Times -- VIII, 11:2, January 18.
Murals depicting history of NYC, painted for New Years' ball, to be given to Museum of the City of New York. -- New York Times -- 25:4, February 3.
Exhibition of lithographs, woodcuts, and linoleum prints. -- New York Times -- VIII, 11:13, April 12.
1926
Exhibition. -- New York Times -- 4:5, January 14.
Exhibition. -- New York Times -- 17:3, April 8.
Exhibition of photographs of recent buildings. -- New York Times -- VIII, 12:6, April 18.
15th century books brought from Germany by Dr. Otto H.F. Vollbehr on exhibition at the National Arts Club. -- New York Times -- 6:6, August 24.
15th century Book of Hours, worth $15,000, stolen from exhibition at National Arts Club. -- New York Times -- 1:2, August 26.
Feature article on exhibition. -- New York Times -- IV, 15:1, August 29.
Book of Hours mysteriously returned to Vollbehr by E.M. Garlock, attorney, acting for unnamed client who claims to have bought book from stranger. -- New York Times -- 19:1, September 12.
Editorial on return of book. -- New York Times -- 20:4, September 13.
21st annual book exhibit; addresses. -- New York Times -- 28:3, November 4.
History in connection with 20th anniversary celebration. -- New York Times -- VIII,18:6, November 7.
1927
New Year's Eve costume ball. -- New York Times -- 15:3, January 1.
Exhibition of American paintings. -- New York Times -- 25:5, March 3.
Exhibition of etchings. -- New York Times -- IX, 10:4, December 11.
1928
Exhibits. -- New York Times -- 30:2, January 12; -- New York Times -- IX, 13:2, January 29.
Awards in small painting exhibition. -- New York Times -- 27:2, February 10.
Exhibit. -- New York Times -- VIII, 15:3, February 12.
First exhibition of decorative arts. -- New York Times -- 28:4, March 15; -- New York Times -- IX, 15:4, March 18.
Exhibition. -- New York Times -- IX, 15:2, April 15.
1929
J. Lie, P. Manship, and C. Beach win prizes. -- New York Times -- 25:3, January 11.
Annual members' exhibition. -- New York Times -- X, 18:4, January 27.
Exhibition of crafts. -- New York Times -- X, 15:6, December 8.
Prize awarded to D.C. Nisbet. -- New York Times -- 23:5, December 29.
1930
Arts Club prizes announced. -- Art News -- 28:21, January 4.
Annual exhibition of painting and sculpture. -- New York Times -- VIII, 13:3, January 19.
Seventh annual exhibition. -- New York Times -- VIII, 13:1, February 16.
Annual junior art show. -- New York Times -- 3:5, March 15; -- New York Times -- X, 19:3, March 16.
Exhibition of prints by living American etchers. -- New York Times -- X, 18:1, December 14.
1931
New York season; Living American Etchers. -- Art Digest -- 5:14, January 1.
M. Gregg Memorial Prize awarded to I.G. Olinsky; medal to H.W. Watrous. -- New York Times -- 34:6, January 10.
Exhibitions. -- New York Times -- VIII, 12:7, February 22.
Exhibition of Junior Artist Members. -- New York Times -- IX, 13:4, March 15.
Hold exhibition of portraits and other objects relating to history of Gramercy Park. -- New York Times -- II, 1:7 and 18:4, May 3.
Annual exhibition of paintings by members. -- New York Times -- 30:6, June 4.
Awards to R.D. Bowden $3000 prize, offered by J.G. Agar for best book on "The Soul of America." -- New York Times -- 20:6, June 8.
1932
Annual exhibition of work by painter and sculptor members; prizes announced. -- New York Times -- 27:7, January 7.
Art Club prizes. -- Art Digest -- 6:10, January 15.
Forum on development of art talent in young artists. -- New York Times -- 13:8, January 18.
Arts Club prizes. -- Art News -- 30:20, January 23.
Opening. -- New York Times -- 16:7, February 4.
Prizes awarded to junior artists. -- New York Times -- 19:2, March 8.
Art auction totals $600. -- New York Times -- 19:5, April 14.
Members' exhibition of small paintings. -- New York Times -- 16:6, May 5.
National Arts Club book exhibition. E. Yost. -- Publishers Weekly -- 122:2382-3, December 31.
1933
R. Nickerson, new member, wins medal at annual painting and sculpture show; other awards. -- New York Times -- 18:2, January 5.
Annual members' exhibition. -- New York Times -- 13:2, January 13; -- New York Times -- IX, 12:6, January 15.
National Arts club prizes. -- Art Digest -- 7:15, January 15; -- Art News -- 31:7, January 28 Celebrates 119th birthday of S.J. Tilden. -- New York Times -- 17:6, February 8.
Exhibition by junior artist members. -- New York Times -- 15:2, March 2.
1934
Prizes for annual members' show announced. -- New York Times -- IX, 12:3, January 14.
Annual dinner. -- New York Times -- 17:4, January 18.
Prizes. -- Art Digest -- February 1, 8:19; -- Art Digest -- 8:13, May 15.
Memorial exhibition of eight of its deceased painter and sculptor members. -- New York Times -- IX, 12:6, February 4.
Junior members exhibit. -- New York Times -- 17:1, March 8; -- New York Times -- IX, 9:7, March 18; Prizes awarded. -- New York Times -- 22:8, March 22.
Annual members' show. -- New York Times -- 17:2, May 3; Awards, -- New York Times -- 21:1, May 8; -- New York Times -- IX, 7:7, May 13.
Awards given by Arts Club. -- Art News -- 32:4, June 2.
Rare book exhibition planned. -- New York Times -- 19:4, September 18; Exhibition. -- New York Times -- 17:1, September 19.
1935
Annual exhibition of members' work opened. -- New York Times -- 17:5, January 10; -- New York Times -- 9:3, January 14.
Annual dinner; awards. -- New York Times -- 20:7, January 17.
Stag dinner; portrait of Victoria replaces painting of nude. -- New York Times -- 23:4, February 1.
Prizes, annual exhibition of painting and sculpture. -- Art Digest -- 9:21, February 1.
Members' annual exhibition. -- New York Times -- 18:2, February 8; -- New York Times -- VIII, 9:6, February 17.
Annual exhibition by junior artists. -- New York Times -- 18:5, March 9.
Arts Club plans a large bazaar. -- Art News -- 33:10, August 17.
Series of articles on traditions of club being written. -- New York Times -- II, 7:1, October 6.
Plans for annual book week. -- New York Times -- II and III, 8:5, October 13; exhibitors to be entertained by J.R. Gregg, president. -- New York Times -- 19:2, October 30.
To award two trips to Europe for mural decoration. New -- York Times -- 26:7, November 1; -- New York Times -- 19:5, November 14.
To hold "At Home" tea. -- New York Times -- II, 8:2, December 8.
Dinner. -- New York Times -- 14:8, December 11.
1936
Annual members' exhibition. -- New York Times -- 19:6, January 9; -- New York Times -- 13:8, January 11; -- New York Times -- IX, 10:1, January 19.
Exhibition of modern textbooks. -- New York Times -- 17:7, February 6.
Announces winners of trips to Europe. -- New York Times -- 21:2, February 11.
Exhibition by neighboring organizations. -- New York Times -- IX, 8:1, April 12.
Summer exhibit from permanent collection. -- New York Times -- IX, 7:4, June 21.
Exhibition of contemporary books; authors' night. -- New York Times -- VI, 9:2, November 8.
Plans for children's matinee at annual book exhibition. -- New York Times -- VI, 7:2, November 8.
Women's open table plans dinner. -- New York Times -- 16:4, November 23.
Exhibition of Society of American Etchers. -- New York Times -- XII, 9:2, November 29.
1937
Awards at members' exhibit. -- New York Times -- 24:3, January 27.
Exhibitions sponsored by Society of American Etchers. -- New York Times -- 21:3, February 3; -- New York Times -- X, 9:7, February 7.
Women's committee holds drama dinner. -- New York Times -- 13:1, February 15.
R.D. Kohn speaks, -- New York Times -- 25:7, March 11.
Jr. artists group exhibit. -- New York Times -- IX, 10:1, March 14; Awards. -- New York Times -- 23:6, March 25.
Photographic exhibition. -- New York Times -- X, 10:2, May 16.
Officers elected. -- New York Times -- 19:1, May 20.
H. Hamilton exhibit. -- New York Times -- IX, 6:7, September 26.
Book of the year exhibit. -- New York Times -- 23:6, November 4; -- New York Times -- VI, 4:3, November 28.
Mr. H.P. Crine elected life member. -- New York Times -- 9:1, November 28.
Members' exhibit. -- New York Times -- 28:3, December 9.
1938
Women's Open Table plans. -- New York Times -- 11:2, January 17.
Members' annual exhibit. -- New York Times -- , January 18 26:2; -- New York Times -- IX,9:3, January 23; Awards. -- New York Times -- 22:2, January 27.
Members studio receptions planned. -- New York Times -- VI, 2:7, January 30.
Dinner honoring Dr. W. Damrosch. -- New York Times -- 12:5, March 7.
Exhibit by art groups near NYC. -- New York Times -- 20:8, March 28.
Group show. -- New York Times -- X, 8:2, April 17.
Viennese ball. -- New York Times -- 22:6, April 21.
J.F. Talcott elected president; D.E. Waid executive committee chairman. -- New York Times -- 21:6, November 19.
Victorian ball. -- New York Times -- 18:1, December 17.
1939
Members' memorial exhibit. -- New York Times -- 15:1, January 13; -- New York Times -- IX, 9:2, January 22.
Members' painting and sculpture exhibit. -- New York Times -- IX, 9:2, February 5.
Jr. Members' lecture. -- New York Times -- 10:2, February 6.
Painting exhibit. -- New York Times -- 18:1, March 1; -- New York Times -- X, 10:2, March 5.
Jr. Members party planned. -- New York Times -- 50:3, March 5.
Exhibit of neighboring art organizations. -- New York Times -- 13:2, April 17.
Wild West party planned to benefit Jr. Members Scholarship Fund; to close 40th anniversary celebration. -- New York Times -- II, 2:8, April 23; -- New York Times -- II, 3:1, April 30.
Jr. Members plan New Year's Eve Olympian Ball. -- New York Times -- 30:2, December 19; -- New York Times -- II, 1:2, December 31.
1940
Art by deceased life members to be sold. -- New York Times -- 17:2, January 5.
Group show; awards. -- New York Times -- 21:2, January 11.
Group show. -- New York Times -- 24:2, January 24; -- New York Times -- IX, 9:2, January 28.
Non-members exhibition. -- Art News -- 38:15, February 3.
Exhibits: ceramics. -- New York Times -- 17:4, February 16; Ceramics and flowers. -- New York Times -- 15:5, February 19; Ceramics. -- New York Times -- II, 5:2, February 25; Exhibits: Jr. members. -- New York Times -- IX, 10:2, April 14; Group show awards. -- New York Times -- 21: 5, April 25.
Pan-American Ball held. -- New York Times -- 21:5, April 20.
Fund campaign for refugee artists started. -- New York Times -- 8:2, July 31.
Establishes artist refugee fund. -- New York Times -- 19:1, August 1.
Benefit exhibit plans. -- New York Times -- 20:8, October 2; Exhibit. -- New York Times -- IX, 5:4, October 6.
County fair planned. -- New York Times -- II, 3:3, October 6.
Refugee artists show their work. -- Art News -- 39:10, October 12.
Annual book exhibit opens. -- New York Times -- 3:5, November 3.
Testimonial luncheon for foreign authors in U.S. -- New York Times -- 45:2, November 10.
National Arts Club dramatizes books at the 35th annual new books of the year exhibition. -- Publishers Weekly -- 138:2046, November 30.
1941
Annual members' exhibit. -- New York Times -- 24:8, January 10; Comment. -- New York Times -- IX, 9:2, January 12; Awards. -- New York Times -- 24:6, January 23.
Annual prizes. -- Art Digest -- 15:13, February 1.
Benefits concerts planned. -- New York Times -- 39:1, February 23; -- New York Times -- 20:7, March 28.
Annual exhibit awards. -- New York Times -- 28:3, March 11; Comment. -- New York Times -- I, 10:3, March 16.
Group shows. -- New York Times -- IX, 10:1, March 30; -- New York Times -- IX, 8:2, May 25; -- New York Times -- X, 13:5, May 25; -- New York Times -- IX, 7:5, June 15.
Book exhibit. -- New York Times -- 1:6,November 9.
1942
Group show. -- New York Times -- X, 10:1, January 18.
Group show. -- New York Times -- 14:4, February 4; Private preview. -- New York Times -- 15:4, February 5; Comment. -- New York Times -- IX, 9:6, February 8.
Jr. members to honor servicemen at Hallowe'en party. -- New York Times -- 16:3, October 30.
37th annual show of new books. -- Publishers Weekly -- 142:2044, November 14.
To sponsor Chinese and Indian art exhibit in NYC. -- New York Times -- VIII, 9:1, December 13; Exhibit. -- New York Times -- 42:5, December 17.
1945
Holds Xmas fair. -- New York Times -- 13:3, November 16.
1946
Contemporary American painting exhibit planned. -- New York Times -- 23:6, February 20.
Jr. members and young non-members exhibition. -- Art News -- 45:67, May.
Annual book show plans. -- New York Times -- 21:2, November 1; Show, W.L. Laurence speaks. -- New York Times -- 13:1, November 12.
Annual book show. -- Publishers Weekly -- 150:2731, 2718, November 9.
Packaging the book. P. Boswell. -- Art Digest -- 21:3, November 15.
Choosing best book jackets, 41st annual book show. -- Art News -- 45:8, December.
1947
Preview exhibit. -- New York Times -- 21:5, January 9.
Forming symphony orchestra. -- New York Times -- 27:1, September 19.
1948
Ninth annual exhibition of American Veterans Society of Artists. -- Art Digest -- 22:19, January 1.
Conservatives score at the 50th annual exhibition of painting and sculpture. -- Art Digest -- 22:17, February 1.
Fiftieth annual exhibition. -- Art News -- 47:49, March.
Book fair opens in NYC. -- New York Times -- 30:7, December 9.
1949
Summer annual. -- Art Digest -- 23:14, August.
Dinner honors Mrs. F.D. Roosevelt. -- New York Times -- 39:5, October 11.
1950
Fifty-second annual exhibition of oils and sculptures. -- Art Digest -- 24:12, January 15.
Members' summer exhibition. -- Art Digest -- 24:18, August.
Fair plans. -- New York Times -- 44:8, November 1.
1951
Members-guests annual. -- New York Times -- II, 19:1, January 14.
53rd Annual Exhibition. -- Art Digest -- 25:18, January 15; -- Art News -- 49:47, February.
Non-members annual. -- New York Times -- 21:5, March 30.
Open competition for non-members. -- Art Digest -- 25:18, April 15.
Summer painting exhibition series opens. -- New York Times -- 42:8, June 7.
Members work. -- New York Times -- II, 6:4, June 17.
Summer exhibition. -- Art Digest -- 25:19, July.
1952
Fifty-fourth annual exhibition. -- Art Digest -- 26:19, January 15; -- Art News -- 49:47, February.
Members and guests annual. -- New York Times -- 59:2, January 6; Awards. -- New York Times -- 16:2, January 17.
Watercolor annual; awards. -- New York Times -- 14:4, February 8; -- Art News -- 51:56, March.
Non-members painting annual; awards. -- New York Times -- 16:5, March 10; -- New York Times -- 27:3, March 13.
Small pictures by members; awards. -- New York Times -- 25:5, April 9.
Exhibition of small oils. -- Art Digest -- 26:18-19, April 15; -- Art News -- 49:47, February.
1953
Theatre in an art gallery. A. Scheff. -- Theatre Arts -- 37:92, January.
Members-guests annual; awards. -- New York Times -- II, 11:2, January 11.
Non-members painting annual; awards. -- New York Times -- 21:5., February 19.
Members work; awards. -- New York Times -- II, 13:2, May 10; -- New York Times -- II, 8:5, June 21.
1954
Painting and sculpture annual by members and guests. -- New York Times -- 25:5, January 26.
Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.
Members and non-members annual; contemporary watercolors; awards. -- New York Times -- 27:5, February 11; Review. -- New York Times -- II, 14:2, February 14.
Grand national annual members' competition. -- Art News -- 53:63, May.
1955
Painting and sculpture annual; awards. -- New York Times -- 23:1, January 12.
Fifty-sixth annual exhibition. -- Arts Digest -- 28:17, February 1.
Paintings annual; awards. -- New York Times -- 18:4, March 1.
Annual exhibition of American oil paintings. -- Art Digest -- 29:26, March 15.
Poet P. MacKaye honored on 80th birthday. -- New York Times -- 28:2, March 16.
1957
Arts Club honors Neuman; WNYC. C. Durgin. -- Musical America -- 77:12, April.
Art Clubs of America. -- Artist -- 53:67, June.
1958
At founding [sixtieth anniversary]. -- New York Times -- 49:2, November 27.
First annual metropolitan young artists show; awards. -- New York Times -- 49:2, November 27
1959
Stadium Concerts founder Mrs. C.S. Guggenheimer gets scroll from Mayor Wagner and National Arts Club medal. -- New York Times -- 9:2, March 12.
1960
Tenor competition awards. -- New York Times -- 47:8, November 15.
Provenance:
The National Arts Club donated its records to the Archives of American Art in 1987. Although a limited amount of printed matter was available at various libraries and on microfilm through the Archives of American Art, scholars have not had access to unpublished records of the Club until this time.
In November 2017 an addition to the Officers' Correspondence was donated by Elizabeth G. Knudsen, granddaughter of Edmund Greacen, former Arts Committee Chair.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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.
Contemporary Arts Center (New Orleans, La.) Search this
Extent:
3 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1976-1980
Scope and Contents:
Exhibitions and special activities files pertaining to visual arts. [The Center's records relating to music, theatre etc. were not microfilmed].
Files include: 1976: Mask Workshop; 1977: Opening Show, Bal Masque; Five from Lousiana; Food Show; Lecture Series: Issues in the Arts; Electronic Visions; Leif Anderson; George Dureau, Selected Works 1960-1977;Louisiana Craftsmen, 1961 to the Present; Louisiana Environments; National Womens' Film Circuit Screening; 1978: Alabama Artists Invitational; American Narrative/Story Art, 1967-1977; Animal Fantasies; Artworks Bookwords; The Art and Romance of Peasant Clothes; Contemporary Photography in Louisiana; Randy Asprodites Workshop; New Orleans Federation of Churches and N.E.A., AugustArt Escapes; Figures and Wipeouts, Peter Halley, Andrew Bascle; The Rigs, Grady Byrd; CETArts, An Exhibition; Southeastern Graphics Annual; Film: Gumbo-The Mysteries of Creole and Cajun Cooking, Stephen Duplantier;Children's classes: Ice Cream Factory and Council of the Arts for Children, Evelyn Smith Workshop; The Theo Moorman Workshop sponsored by the Loom Room; Eleventh Annual Juried Competition and Exhibition of works by Louisana Craftsmen;
Carnival '78; Personal Monuments: An Artists' Burial Ground; Frederick Trenchard; S.P.C.A. Children's Photography Contest; Contemporary Arts Center Video Night; Young Architects: Architectural Design Studies by Elementary School Students; Young Americans: Fiber/Wood/Plastic/Leather; Maria da Conceicão; Mollyne Karnofsky: Paper Environment March 1978; Festival of Women in the Arts;
Wall Mural; Five Aerial Sculptures; 1979: Carol Kapelow Brown; Photography Gallery and Workshops; Adrienne Anderson; Marc Brasz; Kimberly Paul Arp; Mary F. Chachere; Avery Crounse; Philip Core; The Drawing Show, an Invitational; Antoinette Ducrest; Rise Delmar and Michael Murphy presented by the Frame Shop and Gallery; Graphic Art in Germany Today; Eric Kronengold;Leslie Elliott, Mary Lee Eggart, Starr Sittig Exhibition; Two traveling exhibitions from French Cultural Services: A Certain Image of French Photographs and Color from France; Gary Cawood and Dean Dablow, photographs and workshops; Juried Members' Exhibition, New Orleans Art Association;Gwen Norsworthy; Interaction: A Participation Art Exhibit; Twelfth Annual Louisiana Craftsmen Show; Tom McNellis Installation; Photography Workshops, Ernst Haas, Rosamund Purcell; Push Pin Invitational; Charlotte Hooper Rosshandler; Art Patron Art Exhibition, Southeastern Center for ContemporaryArt, Winston-Salem; Tiennial; Texas: Silver, Mud, Paper; New Orleans Undergraduates Exhibition; Jay Ziegler; Jimmie Williams Installation; 1980: Innovations: Energy and Designing with the Elements Site Projects; Tommy Mew; and Texas Invitational.
Biographical / Historical:
Art organization; New Orleans, La.
Provenance:
Lent for microfilming 1984 by the Contemporary Arts Center.
Microfilmed as part of the Archives of American Art's Texas project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Modern -- 20th century -- Louisiana Search this
The papers of Boston painter Edmund Charles Tarbell measure 7.2 linear feet and date from circa 1855-circa 2000, bulk 1885-1938. The collection includes biographical material, correspondence, writings, diaries, personal business records, printed material, photographs, albums, glass plate negatives, and a scrapbook.
Scope and Contents:
The papers of Boston painter Edmund Charles Tarbell measure 7.2 linear feet and date from circa 1855-circa 2000, bulk 1885-1938. The collection includes biographical material, correspondence, writings, diaries, personal business records, printed material, photographs, albums, glass plate negatives, and a scrapbook.
Biographical material includes a detailed timeline, honorary degree, award certificates, business cards, lists of awards and paintings, sketches, handbooks for organizations, and other documents.
There are three subseries of correspondence: Edmund Charles Tarbell's correspondence, his wife Emeline Tarbell's correspondence, and his daughter Josephine Tarbell Ferrell's correspondence. The first subseries includes Edmund Tarbell's correspondence with artists, museums and arts organizations. Notable correspondents include Frank W. Benson, William Merritt Chase, Henry Clay Frick, Philip Leslie Hale, August F. Jaccaci, Lilla Cabot Perry, and many others. The letters to his brother-in-law Augustus "Gus" Nickerson and sister Nellie Sophia are also significant for their information about his time studying abroad. The bulk of Emeline Tarbell's correspondence consists of letters from her husband regarding his time as a student in Paris. There are letters from her mother and siblings as well. Josephine Tarbell Ferrell's correspondence with people concerns her efforts to preserve the Tarbell house in New Hampshire as a memorial to her father.
Writings include a small amount of material by Edmund C. Tarbell, such as annotated appointment calendars, a notebook, assorted lists and notes, but most of the material in the series consists of other people's writings about the artist. Writing by others include drafts of a biography about Tarbell by his daughter Josephine Tarbell Ferrell and a typescript draft of "About the Artist Edmund C. Tarbell: Recollections of a Daughter" by Mercie Tarbell Clay. There is also a cookbook that was probably Emeline Souther's, before her marriage to Tarbell.
There are four diaries: two diaries by Emeline Tarbell, one diary by Josephine Tarbell Ferrell and another by Mercie Tarbell Clay.
Personal business records consist of account books, bills, receipts, checkbooks, estate papers, a ledger, and a deed. Some of the material belonged to Emeline Tarbell.
Printed material includes exhibition catalogs, announcements, event invitations, magazines, books, and newspaper clippings, mostly about Edmund Charles Tarbell.
There is one scrapbook of clippings of artwork and articles on Tarbell.
Photographic material consists of albums, photographs, glass plate negatives, and nitrate negatives of Edmund Charles Tarbell, his studio, family, friends, exhibition installations, and artwork. There are extensive photographs of the Tarbell family and the house in New Castle, New Hampshire.
Arrangement:
This collection is arranged as 8 series.
Series 1: Biographical Material, 1862-circa 1980, bulk 1884-1938 (0.4 linear feet; Boxes 1, 8, 18, OV 9)
Series 2: Correspondence, 1877-circa 1993, bulk 1883-1930 (1.1 linear feet; Boxes 1-2)
Series 3: Writings, circa 1880-circa 2000 (0.2 linear feet; Box 2)
Series 4: Diaries, 1887-1938 (0.3 linear feet; Box 2)
Series 5: Personal Business Records, 1889-circa 1951 (0.3 linear feet; Boxes 2-3)
Series 6: Printed Material, 1877-1979 (1.7 linear feet; Boxes 3-4, 8, OV 10-15)
Series 7: Scrapbook, circa 1902-circa 1916 (0.2 linear feet; Box 8)
Series 8: Photographic Material, circa 1845-circa 1990 (2.7 linear feet; Boxes 4-8, 16-17, MGP 1, MGP 5)
Biographical / Historical:
Edmund Charles Tarbell (1862-1938) was a painter and educator based in Boston, Massachusetts and New Hampshire.
Edmund Charles Tarbell was born in West Groton, Massachusetts. His parents were Mary Sophia and Edmund Whitney Tarbell. His father died from typhoid fever during the Civil War. After his father's death and his mother's remarriage, Tarbell and his sister Nellie Sophia are raised by his paternal grandparents. Tarbell studied at the School of the Museum of Fine Arts, Boston (the Museum School), where he studied under the painter Otto Grundmann, and the Académie Julian in Paris, France, where he studied under Gustave-Rodolphe Boulanger and Jules-Joseph Lefebvre. Tarbell was in Europe from 1884 to 1886. In addition to his time at the Académie in Paris, he studied the Old Master paintings and Impressionism. He also traveled to London, Brussels, Frankfurt, Venice, and Munich, among other places.
After returning from Europe, Tarbell settled in Dorchester, Massachusetts and worked as a painter and illustrator. Tarbell married Emeline Souther in 1888. They had four children together and his family members were often the models for his paintings. Tarbell bought a summer house in New Castle, New Hampshire in 1905, where he and his wife would eventually retire.
Tarbell taught at the Museum School in Boston from 1889-1913 and later became the head of the Corcoran School of Art from 1918 to 1926. Tarbell and his close friend Frank W. Benson were both members of the Ten American Painters, a group of American Impressionist painters who held exhibitions together. He was considered the leader of the Boston Impressionists and had tremendous influence on his students, who were referred to as "Tarbellites." Tarbell was also the president of The Guild of Boston Artists from 1914 to 1924.
Tarbell exhibited frequently and his paintings are often in the American Impressionist style. While his wife and children were often the subject of his paintings, he also made numerous portraits of men of prestige, such as noted industrialists and presidents. He won numerous awards and received an honorary doctorate for painting from Dartmouth College. Tarbell was a juror in several important international exhibitions and world fairs such as the Louisiana Purchase Exposition (1904) and the Panama–Pacific International Exposition (1915). Furthermore, Tarbell was a member of various arts organizations such as the Tavern Club, the Players Club, and the National Academy of Design.
Tarbell died in New Castle, New Hampshire in 1938.
Separated Materials:
Also in the Archives is material loaned for microfilming (reel N68-103) including roughly 75 unidentified and undated photographs, mostly of Tarbell's work and exhibitions; six exhibition catalogs in which his work appears; clippings; 1 sketch by Tarbell, 1883; and 1 letter from Edward Redfield to "Mary."
Provenance:
The Edmund Charles Tarbell papers were donated in 1989 by his granddaughter, Mary Josephine Ferrell Cannon, and in 2017 by William P. Tarbell, the artist's great-grandson.
The material on reel N68-103 was lent for microfilming in 1968 by Mrs. John Schaffer (Mary Tarbell), daughter of Edmund Tarbell.
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 Edmund Charles Tarbell papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Citation:
Edmund Charles Tarbell papers, circa 1855-circa 2000, bulk 1885-1938. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of this collection was provided by The Walton Family Foundation and the Terra Foundation for American Art.
Creative clays : American art pottery from the New Orleans Museum of Art / organized by the New Orleans Museum of Art, 1992 ; circulated by the Trust for Museum Exhibitions
