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Julia Keffer Blythe autograph book, [ca. 1844-1848]

Creator:
Blythe, Julia Keffer  Search this
Blythe, Julia Keffer  Search this
Subject:
Blythe, David Gilmour  Search this
Type:
Autograph albums
Topic:
Art -- Collectors and collecting  Search this
Theme:
Lives of American Artists  Search this
Ephemera, Miscellany, and General Art Related  Search this
Women  Search this
Record number:
(DSI-AAA_CollID)6747
(DSI-AAA_SIRISBib)208872
AAA_collcode_blytjuli
Theme:
Lives of American Artists
Ephemera, Miscellany, and General Art Related
Women
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208872

Julia Keffer Blythe autograph book

Creator:
Blythe, Julia Keffer, d. 1852  Search this
Names:
Blythe, David Gilmour, 1815-1865  Search this
Extent:
1 Volume ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Volumes
Autograph albums
Date:
[ca. 1844-1848]
Scope and Contents:
An autograph book kept by Julia Ann Keffer (with initials "J.A.K.", later Julia Keffer Blythe), containing poems, writings, notes, and sketches, some signed "Boots," David Gilmour Blythe's pen name.
Biographical / Historical:
Wife of 19th century painter, David Gilmour Blythe; Pennsylvania.
Provenance:
Lent 1980 by Mary Eleanor Bonner, Blythe's grand niece once removed.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Collectors -- Pennsylvania  Search this
Topic:
Art -- Collectors and collecting  Search this
Genre/Form:
Autograph albums
Identifier:
AAA.blytjuli
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-blytjuli

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

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

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

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

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

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

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

Missing Title

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

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

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

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

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

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

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

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

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

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

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

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

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

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

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

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

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Eight (Group of American artists)  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
Online Media:

Charles Henry Hart autograph collection

Creator:
Hart, Charles Henry, 1847-1918  Search this
Names:
Anshutz, Thomas Pollock, 1851-1912  Search this
Audubon, John James, 1785-1851  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Frederic Edwin, 1826-1900  Search this
Copley, John Singleton, 1738-1815  Search this
Cox, Kenyon, 1856-1919  Search this
Eakins, Thomas, 1844-1916  Search this
McEntee, Jervis, 1828-1891  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Raphaelle, 1774-1825  Search this
Peale, Rembrandt, 1778-1860  Search this
Peale, Rubens, 1784-1865  Search this
Peale, Titian Ramsay, 1799-1885  Search this
Smillie, James David, 1833-1909  Search this
Stuart, Gilbert, 1755-1828  Search this
Sully, Thomas, 1783-1872  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Vanderlyn, John, 1775-1852  Search this
Vedder, Elihu, 1836-1923  Search this
Ward, John Quincy Adams, 1830-1910  Search this
West, Benjamin, 1738-1820  Search this
Whistler, James McNeill, 1834-1903  Search this
Extent:
1.71 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1731-1918
Summary:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.71 linear feet comprised of 232 letters, portrait prints, and other documents signed by American artists. There is a .01 linear foot (6 items) unprocessed addition to this collection donated in 2021 that includes a letter from Winslow Homer to Mr. Clarke, November 28, 1892; typed and annotated lists of autographs of artists in the collections of Charles Henry Hart; handwritten note about English painter and engraver, John Keyse Sherwin, undated; handwritten note regarding Gennearino Persico, miniature artist, July 18, 1826.
Scope and Contents:
The Charles Henry Hart autograph collection dates from 1731-1917 and measures 1.71 linear feet comprised of 232 letters, portrait prints, and other documents signed by American artists. There is a .01 linear foot (6 items) unprocessed addition to this collection donated in 2021 that includes a letter from Winslow Homer to Mr. Clarke, November 28, 1892; typed and annotated lists of autographs of artists in the collections of Charles Henry Hart; handwritten note about English painter and engraver, John Keyse Sherwin, undated; handwritten note regarding Gennearino Persico, miniature artist, July 18, 1826.

Originally titled by Hart as "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century," the collection includes letters and other items signed by Thomas Anshutz, John J. Audubon, William Merritt Chase, Frederic Edwin Church, John Singleton Copley, Kenyon Cox, Thomas Eakins, Jervis McEntee, Samuel F.B. Morse, Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Rubens Peale, Titian Peale, James Daivd Smillie, Gilbert Stuart, Thomas Sully, Abbott Handerson Thayer, John Vanderlyn, Elihu Vedder, John Quincy Adams Ward, Benjamin West, James Abbott McNeill Whistler, and many others.
Arrangement:
The collection is arranged in 2 series.

Missing Title

Series 1: Charles Henry Hart autograph collection, 1731-1917 (226 items; Box 1-5)

Series 2: Unprocessed Addition, 1826-1892 and undated (6 items; MMS folder 6)
Biographical / Historical:
Charles Henry Hart (1847-1918) was a historian, lawyer, writer, and director, Pennsylvania Academy of the Fine Arts, 1882-1904. Widely, he published on the subject of 18th and 19th century portraiture in the United States.
Related Materials:
The Archives of American Art also holds the personal papers of Charles Henry Hart, dating from 1774-1930, bulk 1888-1918.

Papers of Charles Henry Hart, 1888-1894, are also located at The New York Public Library Archives & Manuscripts.
Provenance:
The Charles Henry Hart autograph collection was donated to the Archives of American Art in 1954 as an anonymous gift. It is assumed that Hart assembled the letters. Original collation was two letterbooks entitled "The History of Art in America as Told in a Remarkable Collection of Autograph Letters and Documents of Celebrated American Artists of the Eighteenth, Nineteenth, and Twentieth Century." Additional six items donated in 2021 by Ty West, who found the compiled material among his grandfather-in-law's belongings.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Autographs -- Collections  Search this
Artists -- United States -- Portraits  Search this
Autographs -- Collectors and collecting  Search this
Artists -- United States -- Autographs  Search this
Citation:
Charles Henry Hart autograph collection, 1731-1918. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hartchar
See more items in:
Charles Henry Hart autograph collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hartchar

Charles Roberts autograph collection

Collector:
Roberts, Charles  Search this
Names:
Allston, Washington, 1779-1843  Search this
Bierstadt, Albert, 1830-1902  Search this
Cole, Thomas, 1801-1848  Search this
Disney, Walt, 1901-1966  Search this
Durand, Asher Brown, 1796-1886  Search this
Gay, Edward, 1837-1928  Search this
Greenough, Horatio, 1805-1852  Search this
Homer, Winslow, 1836-1910  Search this
Hurd, Peter, 1904-1984  Search this
Inman, Henry, 1801-1846  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, Rembrandt, 1778-1860  Search this
Sully, Thomas, 1783-1872  Search this
Trumbull, John, 1756-1843  Search this
West, Benjamin, 1738-1820  Search this
Extent:
1 Microfilm reel
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1773-1938
Scope and Contents:
Letters of American artists, including Washington Allston, Albert Bierstadt, Thomas Cole, Walt Disney, Asher Durand, Horatio Greenough, Winslow Homer, Peter Hurd, Henry Inman, Thomas Sully, John Trumbull, Benjamin West and many others, with an illustrated letter from Edward Gay and correspondence of the Peale family; a handwritten manuscript by Rembrandt Peale, "Washington and His Portraits"; clippings, announcements, an auction catalog of the John Trumbull collection, and other printed material.
Provenance:
Lent for microfilming, 1955, by Haverford College Library.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, American -- United States  Search this
Artists -- United States -- Autographs  Search this
Autographs -- Collections  Search this
Autographs -- Collectors and collecting  Search this
Identifier:
AAA.robechar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-robechar

John Davis Hatch papers

Creator:
Hatch, John Davis  Search this
Names:
St. John's College (Annapolis, Md.) -- Students  Search this
University of Massachusetts -- Faculty  Search this
University of Oregon -- Faculty  Search this
Bluemner, Oscar, 1867-1938  Search this
Browne, Henry Kirke  Search this
Callahan, Kenneth, 1905-1986  Search this
Clark, Ezra  Search this
Cranch, John, 1807-1891  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Darley, Felix Octavius Carr, 1822-1888  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Granger, C. H.  Search this
Guy, Seymour J., 1824-1910  Search this
Harvey, George W., 1855-  Search this
Hatch, Olivia Stokes  Search this
Henry, Edward Lamson, 1841-1919  Search this
Inman, Henry, 1801-1846  Search this
McNeill, Lloyd  Search this
Peale, Rembrandt, 1778-1860  Search this
Scott, Julian  Search this
Trumbull, John, 1756-1843  Search this
Vanderlyn, John, 1775-1852  Search this
Extent:
24.9 Linear feet
Type:
Collection descriptions
Archival materials
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Date:
1790-1995
Summary:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization, and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.
Scope and Content Note:
The papers of art historian, collector, educator, and museum administrator John Davis Hatch measure 24.9 linear feet and date from 1790-1995. Within the papers are biographical materials; correspondence; personal business and legal documents; diaries; research, organization and teaching files; writings; printed materials; photographs; and works of art (mostly sketches) by American artists. Research files regarding artists and specific subjects comprise the bulk of this collection.

Scattered biographical materials include an invitation to the Hatch's anniversary party in 1964, short biographical sketches and resumes, certificates, report cards, a silhouette of the Hatch Family circa 1904, and a typecript of a diary written by Olivia Hatch as a child.

Correspondence includes professional correspondence between Hatch and colleagues; letters from family and friends; and some materials regarding exhibitions from the Hatch Collection. The bulk of correspondence spans Hatch's professional career although there are scattered letters from 1915-1943 from Hatch to his parents. Also found are letters addressed to an unidentified "Henry." Correspondence is also found in the research files.

Personal business and financial records consist of inventories, bills, receipts, and other records for artworks purchased, loaned, or donated by Hatch. Also found are records from the J. D. Hatch Associates Cultural Consultants, a draft of Hatch's will, stock and tax materials, and travel papers and passports.

Scattered diaries and journal fragments and a transcript date from 1925-1965. Thirteen "Daily Reflection Journals" date from 1975-1987.

Research files on artists and subjects are extensive, comprising one-half of the collection. Files are varied and may include primary research materials, correspondence, printed materials, notes, and writings. Some of the artists' letters and other materials dated from 1790-early 1800s may have been purchased by Hatch. Among many other items, there is an illustrated letter written by Oscar Bluemner and photographs of Bluemner; primary research materials dating from the early 1800s on John Vanderlyn including a will, receipts, and correspondence; a letter from Rembrandt Peale dated 1830, and an autograph letter from John Trumbull dated 1790. Also found is an index card file.

Organization files contain files and records related to Hatch's affiliations with many cultural organizations. A small amount of teaching and education files consist of Hatch's notes and lectures from the University of Oregon and the University of Massachusetts, and from his continuing education courses he took at St. John's College. Writings and notes include short essays by Hatch, mostly concerning art, exhibitions and museum administration; book reviews; general notes, lists, and reports.

Printed Materials are comprised of exhibition catalogs and announcements, including those from the American Drawing Annual in the 1940s-1950s; printed articles annotated by Hatch; clippings; pricelists; and published works.

A small number of photographs are of Hatch, some by Dorothy Frazer; of his family and friends; and of artists. The bulk of the photographs are of works of art including those owned by Hatch.

Artwork includes two sketchbooks - one by Kenneth Callahan and another by Lloyd McNeill; and additional drawings and sketches by Julian Scott, Henry Kirke Browne, Kenneth Callahan, Ezra Clark, John Cranch, Jasper Francis Crospey, F. O. C. Darley, C. H. Granger, Seymour J. Guy, George Harvey, Edward Lamson Henry, Henry Inman, as well as unsigned or illegible names.
Arrangement:
The collection is arranged as 11 series:

Missing Title

Series 1: Biographical Information, circa 1900-1980s (Box 1; 8 folders)

Series 2: Correspondence, 1903-1990s (Box 1-3; 2 linear feet)

Series 3: Personal Business and Legal Records, Date (Box 3; 0.3 linear feet)

Series 4: Diaries and Journals, 1925-1987 (Box 3, 23; 1.2 linear feet)

Series 5: Research Files, 1790-1992 (Box 3-13, 20-21, 24; 12.7 linear feet)

Series 6: Organization Files, 1930s-1990s (Box 13-14; 1.0 linear feet)

Series 7: Teaching and Education Files, 1930s-1993 (Box 14-15; 1.0 linear feet)

Series 8: Writings and Notes, 1936-1990s (Box 15; 0.3 linear feet)

Series 9: Printed Material, 1870s-1990s (Box 15-19, 22, 25-26, OV1; 5.9 linear feet)

Series 10: Photographs, circa 1900-1990s (Box 22; 0.2 linear feet)

Series 11: Artwork, 1851-1973 (Box 22; 0.3 linear feet)
Biographical Note:
Art historian, collector, educator, and museum administrator John Davis Hatch (1907-1996) worked in the Boston and New England area, as well as the Pacific Northwest, and New York state. Hatch served as director of the Art Institute of Seattle, the Isabella Stewart Gardner Museum, the Albany Institute of Art and History, and the Norfolk Museum of Art and Sciences.

John Davis Hatch was born in San Francisco, California in 1907. His father, grandfather, and great-grandfather were architects and Hatch studied landscape architecture at the University of California, Berkeley. He served as an apprentice to Lockwood de Forest. After abandoning landscape architecture, he accepted a position as director of the Seattle Fine Arts Society (1928-1931) at the age of twenty-one and taught art history courses at the University of Washington.

In 1932, Hatch accepted the position of assistant director of the Isabella Stewart Gardener Museum in Boston, Massachusetts. He also directed the federal Public Works of Art Project in New England. Additionally, Hatch served from 1940-1948 as director of the Albany Institute of Art and History and from 1950-1959 of the Norfolk Museum of Arts and Sciences. Hatch worked as an art advisor for exhibitions at five historically African-American colleges in Atlanta and in San Simeon in California. He founded the American Drawing Annual exhibition.

Hatch conducted extensive research on artists Oscar Bluemner and John Vanderlyn, American silverwork, and American drawing. In addition, Hatch collected American drawings and later donated many of works of art from his personal collection to the National Gallery in Washington, D.C. Aside from his early teaching in Washington state, Hatch taught at the University of Massachusetts and the University of Oregon. He was a member of numerous professional arts-related organizations.

In 1939, Hatch married Olivia Stokes with whom he had four children: Sarah, John, Daniel and James. He died in 1996.
Related Material:
The Archives of American Art holds two oral history interviews with John Davis Hatch: June 8, 1964 conducted by H. Wade White and 1979-1980 conducted by Robert F. Brown. Also found is a separately cataloged photograph of Hatch and Henry Francis Taylor from 1933.

Additional research materials complied by Hatch are located in the Albany Institute of History and Art, the Metropolitan Museum, the library of the National Gallery of Art, and the Senate House, Kingston, New York.

Hatch donated two hundred and seventy American drawings to the National Gallery of Art in Washington, D.C.
Separated Material:
Four books annotated by Bluemner, a letter from Bluemner, a letter from A. Stieglitz to Bluemner, photographs of works of art, and exhibition materials were removed from the papers and merged with the Oscar Bluemner papers at the Archives of American Art.
Provenance:
John Davis Hatch and the John Davis Hatch estate donated his papers to the Archives of American Art in several installments between 1960-1996. Many of the primary materials relating to John Vanderlyn were acquired by Hatch from a photographer in Kingston, New York who received them from a niece of Vanderlyn. Robert Graham of James Graham and Sons gave Vanderlyn's will to Hatch.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- Massachusetts  Search this
Topic:
Painting, American  Search this
Drawing, American  Search this
Art, American  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American -- Study and teaching  Search this
Genre/Form:
Essays
Reviews (documents)
Photographs
Diaries
Sketchbooks
Notes
Lectures
Sketches
Citation:
John Davis Hatch, 1790-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hatcjohn
See more items in:
John Davis Hatch papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hatcjohn

Aviator Autograph Books (Mabel Perkins)

Creator:
Perkins, Mabel.  Search this
Names:
Arnold, Henry Harley, 1886-1950  Search this
Earhart, Amelia, 1897-1937  Search this
Elder, Ruth  Search this
Johnson, Amy  Search this
Nichols, Ruth.  Search this
Piccard, Jeanette.  Search this
Post, Wiley, 1898-1935.  Search this
Rickenbacker, Eddie, 1890-1973  Search this
Rogers, Will, 1879-1935  Search this
Wright, Orville, 1871-1948  Search this
Ya-Ching, Lee  Search this
Extent:
0.06 Cubic feet ((1 box))
Type:
Collection descriptions
Archival materials
Autograph albums
Date:
bulk 1920s-1940s
Scope and Contents:
This collection consists of two 4 by 4 inch leather bound autograph books, and includes autographs from the following aviators: Lady Heath, Clarence Chamberlain, Roger Williams, Howard Hughes, Elinor Smith, Frank Hawks, George Haldeman, Edith Keating, Horace B. Wild, Marchesa Theodora Marconi, Noble Estey, Laura Ingalls, Casey Jones, W. N. Lancaster, Amelia Earhart, Orville Wright, Charles Holman, Will Rogers, Wiley Post, James Mollison, Amy [Johnson] Mollison, Jimmie Mattern, Charles Kingsford-Smith, Arthur Goebel, Ruth Elder, Clema Granger, Lincoln Ellsworth, Berndt Balchen, Clyde Pangborn, Roscoe Turner, Jimmy Doolittle, Benjamin Foulois, Hap Arnold, Dick Konter, Richard Byrd, Ryotaro Kumakawa, Frank Miller, K. McGinnis, Dick Merrill, Igor Sikorsky, Charles E. Rosendahl, Eddie Rickenbacker, Italo Balbo, P.F. M. Fellowes, Ernie Smith, C. C. Mosely, Ruth Nichols, Lee Ya-Ching, and Jeanette Piccard. News clippings and small photographs of the specific aviator are sometimes placed on the page adjoining the autograph. The books also include two event ribbons, one from the Minneapolis Airport Dedication, September 19, 1930, and one from the Aero Club of Minneapolis Field Day, June 12, 1921.
Biographical / Historical:
Mabel Vernet Perkins (circa 1880 - circa 1950) was born in California to William and Sarah Perkins. Shortly after Perkins' birth, her family moved to Minnesota where her father was a successful businessman. By 1920 Mabel Perkins was attending aviation events and become a member of the Aero Club of Minneapolis. During the 1920s through the early 1940s, Perkins collected aviator autographs, mostly from fairs and barnstorming events in the Midwest. She also collected autographs in Miami in 1933, at the New York Word's Fair in 1939, and in Los Angeles and Riverside, California
Provenance:
Grey Marie Dutton, Gift, 2009
Restrictions:
No restrictions on access.
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Topic:
Air pilots  Search this
Aeronautics  Search this
Women air pilots  Search this
Autographs -- Collectors and collecting  Search this
Genre/Form:
Autograph albums
Citation:
Aviator Autograph Books (Mabel Perkins), Accession 2010-0007, National Air and Space Museum, Smithsonian Institution.
Identifier:
NASM.2010.0007
Archival Repository:
National Air and Space Museum Archives
EDAN-URL:
ead_collection:sova-nasm-2010-0007

John Wanamaker department store art gallery records

Creator:
John Wanamaker (Firm)  Search this
Names:
Bartlett, Paul Wayland, 1865-1925  Search this
Cooper, Colin Campbell, Jr  Search this
Munkácsy, Mihály, 1844-1900  Search this
Wanamaker, John, 1838-1922  Search this
Wanamaker, Rodman, 1863-1928  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
[ca. 1908]-1941
Scope and Contents:
Records documenting John Wanamaker's import of French painting from Parisian salons and artists to sell in his store, to keep for his private collection and to keep for his store collection. Also included is a photograph album of Rodman Wanamaker's silver collection. Included are: correspondence; customs papers; purchase and sale records; preview invitiations; inventories of works purchased for the store's collection; inventories of Wanamaker's private collection; artist files containing lists of Colin Campbell Cooper's works, photographs and clippings relating to Paul W. Bartlett's paintings, autographed photographs of Frederick Frieseke's painting, and files on Mihaly Munkacsy and Pierre Fritel. Total: 1.5 linear feet.
Biographical / Historical:
Department store; Philadelphia, Pa. Founded 1861. Opened an art gallery in 1881. The art gallery is now defunct.
Provenance:
Microfilmed in 1986 as part of AAA's Philadelphia Arts Documentation Project. Subquently donated to the Historical Society of Pennsylvania.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia  Search this
Art, Modern -- French -- 20th century -- History  Search this
Function:
Art galleries, Commercial -- Pennsylvania
Department stores -- Pennsylvania
Identifier:
AAA.johnwana
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-johnwana

Lawrence and Barbara Fleischman papers

Creator:
Fleischman, Lawrence A. (Lawrence Arthur), 1925-1997  Search this
Names:
American Federation of Arts  Search this
Archives of American Art  Search this
Corcoran Gallery of Art  Search this
Detroit Institute of Arts  Search this
Henry Francis du Pont Winterthur Museum  Search this
Kennedy Galleries  Search this
Kraushaar Galleries  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Midtown Galleries (New York, N.Y.)  Search this
Milwaukee Art Center  Search this
Museum of Modern Art (New York, N.Y.)  Search this
National Gallery of Art (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
United States Information Agency  Search this
University of Michigan. Museum of Art  Search this
Whitney Museum of American Art  Search this
Allston, Washington, 1779-1843  Search this
Arms, John Taylor, 1887-1953  Search this
Bailey, Grace  Search this
Bailey, Truman E., 1902?-1959  Search this
Bohrod, Aaron  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Culver, Charles B. (Charles Beach), 1908-1967  Search this
Eakins, Thomas, 1844-1916  Search this
Evergood, Philip, 1901-1973  Search this
Fleischman, Barbara  Search this
Gentle, Esther, 1900-  Search this
Krentzin, Earl, 1929-  Search this
Marin, John, 1870-1953  Search this
Pollack, Peter, 1909-1978  Search this
Rattner, Abraham  Search this
Richardson, Constance, 1905-  Search this
Richardson, Edgar Preston, 1902-1985  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Sellers, Charles Coleman, 1903-  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
4.9 Linear feet
Type:
Collection descriptions
Archival materials
Typescripts
Photographs
Date:
1837-1984
bulk 1935-1979
Summary:
The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.
Scope and Contents:
The papers of art collectors, art patrons, and philanthropists Lawrence and Barbara Fleischman measure 4.9 linear feet and date from 1837 to 1984, with the bulk of the materials dating from 1935-1979. The papers are comprised mostly of correspondence with artists, museums, and arts organizations. Also found are scattered biographical materials, artists' autograph letters purchased by the Fleischmans, exhibition files, notes and writings, printed material, and photographs.

One folder of biographical material includes a biographical account and a certificate of appreciation from the Common Council for the City of Detroit.

The bulk of the collection is comprised of correspondence documenting the Fleischman's art related activities and interests primarily during the 1950s and 1960s. Individual correspondents include Aaron Bohrod, Charles E. Burchfield, Charles B. Culver, Philip Evergood, Earl Krentzin, John Marin, Jr., Abraham Rattner and Esther Gentle, Peter Pollack, Edgar P. and Constance Richardson, Charles Coleman Sellers, and Franklin Watkins. One letter from Charles E. Burchfield includes four etching plates used to create the color print of Hot September Wind.

Arts organizations and galleries represented in the correspondence include the American Federation of Arts, the Archives of American Art, the Arts Commission of the City of Detroit, the Corcoran Gallery of Art, the Detroit Institute of Art, Kennedy Galleries, M. Knoedler and Co., Inc., Kraushaar Galleries, the Metropolitan Museum of Art, the Midtown Galleries, the Museum of Modern Art, the National Gallery of Art, the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, the School of the Society of Arts and Crafts, the United States Information Agency, the Whitney Museum of American Art, and the Winterthur Museum.

Autograph letters purchased by the Fleischmans include letters written by artists Washington Allston (addressed to Thomas Sully), Albert Pinkham Ryder, and John Taylor Arms.

Exhibition files document the various exhibitions of art work from the Lawrence and Barbara Fleischman Collection at the University of Michigan Museum of Art; the Detroit Institute of Art; in Central and South America; in Greece, Israel and Russia; and at the Milwaukee Art Center. The files contain letters, notes, printed material, and photographs.

Three folders of notes and writings include "Introduction to Earl Krentzin Catalog" by Lawrence Fleischman and "Selection of Excerpts from the Soviet Press and Radio Attacking U. S. Culture" by unidentified authors.

Scattered printed material includes miscellaneous clippings and catalogs not connected with the Exhibition Files series. There is also a book John Marin: The Man and his Work by E. M. Benson that was autographed by Marin to the Fleischmans in 1953.

Photographs include portrait photographs of Lawrence Fleischman, photographs of Lawrence and Barbara Fleischman with colleagues, of art work from the Fleischman Collection, of Truman and Grace Bailey in their studio, and a copy photograph of Thomas Eakins as a boy.
Arrangement:
The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1958 (Box 1; 1 folder)

Series 2: Correspondence, 1949-1984 (Boxes 1-4, 7; 3.8 linear feet)

Series 3: Autograph Letters, 1837-1942 (Box 4; 4 folders)

Series 4: Exhibition Files, 1953-1960 (Boxes 4-5, 7; 0.5 linear feet)

Series 5: Notes and Writings, 1957-1962 (Box 5; 3 folders)

Series 6: Printed Material, 1935-1969 (Box 5-6; 6 folders)

Series 7: Photographs, 1953-1965 (Box 6; 13 folders)
Biographical / Historical:
Lawrence Fleischman (1925-1997) of New York City was an American art collector, patron, philanthropist, and benefactor. He and his wife, Barbara Greenberg Fleischman, assembled an impressive collection of art and artifacts that they shared with the public as part of their philanthropic activities aimed at fostering a wider appreciation of the arts around the world.

Lawrence Fleischman was born on February 14, 1925 in Detroit, Michigan, the son of Stella and Arthur Fleischman, the owner of a large carpet business. He attended the Western Military Academy in Alton, Illinois, and studied engineering at Purdue University. In 1942, he interrupted his studies to volunteer for service in the U.S. Army during World War II. While serving in France, he met a doctor who further fostered Fleischman's ever growing interest in American art. Following the war, he graduated with a degree in physics from the University of Detroit. Fleischman met Barbara Greenberg in Detroit and they were married in 1948.

Beginning in the late 1940s, Fleischman established a fledgling television station, developed holdings in real estate, and began purchasing art work. Initially the Fleischmans collected undervalued 20th century American art and were friends with several artists, including John Marin, Charles Burchfield, Stuart Davis, and Ben Shahn. They also expanded the scope of their collection to include 19th century American works.

During the 1950s, Lawrence Fleischman realized how there were few American art historians and college departments, as well as a lack of primary source material. Fleischman worked with Edgar P. Richardson, then director of the Detroit Institute of Art, to raise funds and they founded the Archives of American Art at the Detroit Institute of Art in 1954. The Archives of American Art was, and still is, dedicated to the collection, preservation, and study of primary source records that document the history of the visual arts in the United States. Lawrence A. Fleischman is a founding Trustee of the AAA and served as the Chairman of the Board from 1958 to 1966. His wife, Barbara joined the Board of Trustees in 1997 and served as Chair from 2003 to 2007. She is a Trustee Emerita.

Lawrence Fleischman's business and philanthropic interests included the Arthur Fleischman Carpet Company, the Lee Plaza Hotel-Motel in Detroit, Art Adventurers, the Art School of the Society of Arts and Crafts in Detroit, the Friends of the Whitney Museum of American Art in New York, the Cultural Committee of the United States Information Agency, and the Art Commission of Detroit, which governed the Detroit Institute of Art. He also served as an officer of the Board for many of the arts-related organizations.

In 1996, the Fleischmans moved their family from Detroit to New York City, where Lawrence Fleischman became a partner in the Kennedy Galleries.

The Fleischmans philanthropic activities include generous support of the Metropolitan Museum of Art, the Detroit Institute of Art, the Cleveland Museum, the British Museum, the Vatican Museum, and lifelong support of the Archives of American Art.

Lawrence Fleischman died on January 31, 1997 in London, England. Barbara Fleischman lives in New York City and continues to be an active supporter of the visual arts.
Related Materials:
Among the Archives holdings are two oral history interviews with Lawrence A. Fleischman. The first was conducted by Paul Cummings in 1970 and the second conducted by Gail Stavitsky in 1994 . Both interviews have transcripts available.
Separated Materials:
The Archives of Art also holds microfilm of material lent for microfilming, the majority of which was later donated, except for five letters on reel D197. These include one postcard from Constance Richardson, 1956; one letter from Constance Richardson, 1957; one letter from Franklin Watkins, 1955; one letter from Lawrence Fleischman to Wilbur H. Hunter, 1960; and one letter from Richard D. Tucker, 1960. This material remains with lender and is not described in the collection container inventory.
Provenance:
The Lawrence and Barbara Fleischman papers were donated in several accretions by Lawrence and Barbara Fleischman from 1954 to 2007. Letters were also loaned for microfilming in 1965, but nearly all of them were subsequently donated.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- United States  Search this
Topic:
Painting, American  Search this
Art patrons Michigan Detroit  Search this
Artists' studios -- Photographs  Search this
Philanthropists  Search this
Art -- Collectors and collecting -- United States  Search this
Genre/Form:
Typescripts
Photographs
Citation:
Lawrence and Barbara Fleischman Papers, 1837-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fleilawr
See more items in:
Lawrence and Barbara Fleischman papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-fleilawr
Online Media:

Herbert Waide Hemphill papers

Creator:
Hemphill, Herbert Waide  Search this
Names:
Abby Aldrich Rockefeller Folk Art Center  Search this
Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this
Exposition Universelle de Paris (1878 : Paris, France)  Search this
Folk Art Society of America  Search this
Museum of International Folk Art (N.M.)  Search this
National Museum of American Art (U.S.)  Search this
Aiken, Gayleen  Search this
Bogun, Maceptaw, Rev.  Search this
Borkowski, Mary  Search this
Brice, Bruce  Search this
Carpenter, Miles B. (Miles Burkholder), 1889-  Search this
Coins, Raymond  Search this
Crittenden, Varick A.  Search this
Dinsmoor, Samuel Perry, 1843-1932  Search this
Donovan, Carrie  Search this
Fancher, John W.  Search this
Finster, Howard, 1916-2001  Search this
Flanagan, Thos. J. (Thomas Jefferson), b. 1890  Search this
Fowler, Tim  Search this
Gatto, Victor Joseph, 1893-1965  Search this
Ghostley, Alice, 1926-2007  Search this
Goins, Vernon  Search this
Hall, Michael D., 1941-  Search this
Hamblett, Theora, 1895-1977  Search this
Hartigan, Lynda Roscoe  Search this
Harvey, Bessie, 1929-  Search this
Hawkins, William Lawrence, 1895-1990  Search this
Hicks, Tiny  Search this
Holley, Lonnie  Search this
Hunter, Clementine  Search this
James, A. Everette (Alton Everette), 1938-  Search this
Jennings, James Harold  Search this
Jones, S. L. (Shields Landon), 1901-  Search this
Jordan, John  Search this
Josephson, Nancy, 1955-  Search this
Klumpp, Gustave, 1902-1974  Search this
Lisk, Charles  Search this
Little, Roy  Search this
Lopez, George  Search this
Maldonado, Alexander Aramburo, 1901-1989  Search this
McCarthy, Justin, 1891-1977  Search this
Merrill, James Ingram  Search this
Morgan, Gertrude  Search this
Mr. Imagination, 1948-  Search this
Nathaniel, Inez  Search this
O'Kelley, Mattie Lou  Search this
Orth, Kevin, 1961-  Search this
Patterson, Clayton  Search this
Prince, Daniel C.  Search this
Prince, Neal A.  Search this
Robertson, Royal  Search this
Rowe, Nellie Mae, 1900-1982  Search this
Smith, Fred, 1886-1975  Search this
Smith, Robert E., 1926-  Search this
Smither, John  Search this
Smither, Stephanie  Search this
Spies, Jim  Search this
St. EOM, 1908-1986  Search this
Terrillion, Veronica  Search this
Tolliver, Mose, 1920-  Search this
Tolson, Edgar, 1904-1984  Search this
Walters, Hubert  Search this
Weissman, Julia  Search this
Young, Purvis, 1943-  Search this
Zeldis, Malcah  Search this
Extent:
26.7 Linear feet
Type:
Collection descriptions
Archival materials
Video recordings
Watercolors
Sketchbooks
Sound recordings
Photographs
Drawings
Poems
Reports
Prints
Interviews
Date:
1776-1998
bulk 1876-1998
Summary:
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.
Topic:
Art -- Collectors and collecting  Search this
Folk art -- Collectors and collecting  Search this
Curators -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Genre/Form:
Video recordings
Watercolors
Sketchbooks
Sound recordings
Photographs
Drawings
Poems
Reports
Prints
Interviews
Citation:
Herbert Waide Hemphill papers, 1776-1998, bulk 1876-1998. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hempherb
See more items in:
Herbert Waide Hemphill papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-hempherb
Online Media:

Ronald Gabriel Collection of Baseball Memorabilia

Creator:
Gabriel, Ronald L., 1941-2009  Search this
Names:
Brooklyn Dodgers (Baseball team)  Search this
Ruth, Babe, 1895-1948  Search this
Extent:
2 Cubic feet (7 boxes)
Type:
Collection descriptions
Archival materials
Placemats
Photographs
Ephemera
Packaging
Newsletters
Scrapbooks
Baseball cards
Tickets
Date:
circa 1912-2009
Summary:
The collection consists of newslettersDodgers Line Drives, Brooklyn Dodgers Fan Club Newsletter, and Gabe-o-gram, albums of trading cards and Hall of Fame postcards, many of which have been autographed. There are also photographs of teams, individual players, and a photograph of Ronald Gabriel with Babe Ruth. There is a large scrapbook containing over 1000 autographs and several items of baseball ephemera, including placemats, magnets, scorecards, team schedules, programs, and posters.
Scope and Contents:
The collection includes baseball memorabilia acquired over Ronald Gabriel's lifetime as a fan, especially of the Brooklyn Dodgers.

Series 1, Newsletters, 1944-2008, includes newsletters for the Dodgers Line Drives which Gabriel published, as well as the Brooklyn Dodgers Fan Club, which he founded in 1975. He also authored a newsletter called the Gabe-o-gram.The Brooklyn Bums was a newsletter to which Gabriel subscribed.

Series 2, Photographs, circa 1947-2006, consists of one oversize photo of Babe Ruth, a folder containing collectible photographs, and five packs of team photographs of the Brooklyn and Los Angeles Dodgers. Notably in this series is the photograph of Ronald Gabriel as a child standing with the "Great Bambino," Babe Ruth.

Series 3, Baseball Ephemera, 1912-1990, contains five subseries: Subseries 1, Trading Cards; Subseries 2, Postcards; Subseries 3, Scrapbook; Subseries 4, Posters; and Subseries 5, Ephemera. There are two albums of baseball trading cards dating from 1912 to 1973 and two albums of autographed Hall of Fame postcards. The scrapbook contains 144 pages and over 1000 autographs acquired by Gabriel as a boy. There are oversize posters documenting Duke Snider Restaurant & Bar (autographed by Duke Snider), 1989 and "Catch Baseball Fever," undated. The ephemera includes game tickets, a letter from Dodgers' long timeradio broadcaster Vin Scully, advertising, product packaging, baseball placemats, programs, team schedules, programs, scorecards, magnets, and several other small items.
Arrangement:
The collection is organized into 3 series.

Series 1, Newsletters, 1944-2008

Series 2, Photographs, circa 1947-2006

Series 3, Baseball Ephemera, 1912-1990

Subseries 1, Trading Cards, 1912-1973 (Bulk, 1940-1954)

Subseries 2, Postcards, undated

Subseries 3, Scrapbook, undated

Subseries 4, Posters, 1955-1982

Subseries 5, Ephemera, undated
Biographical / Historical:
Ronald Gabriel (1941-2009) grew up in Brooklyn, just two miles from Ebbets Field, home of the Dodgers. He quickly became engrossed in the baseball atmosphere around his home and developed a passion for the sport that would shape his entire life. He regularly wrote letters to baseball teams asking for player autographs. As a result he compiled a massive collection of signatures, including those from Joe DiMaggio, Warren Spahn, Mickey Mantle, Leo Durocher, Bob Feller, and hundreds more. He continued collecting baseball memorabilia for the rest of his life. The Dodgers were his team. He was born in 1941, just in time to watch the Dodgers become one of the greatest franchises in baseball history, winning pennants in 1941, 1947, 1949, 1952, and 1953. Finally, after losing to the New York Yankees in their previous five World Series, Ronald Gabriel witnessed the Brooklyn Dodgers win the 1955 World Series.

Even after his team moved from Brooklyn to Los Angeles in 1958 Gabriel remained passionately devoted to the Brooklyn Dodgers. He published a newsletter called Dodgers Line Drives that lasted until 2009 and started the "Worldwide" Brooklyn Dodgers Fan Club in 1975 in honor of the twentieth anniversary of their World Series victory. He was also a guest speaker at George Washington University for a class called Race, Sports, and the American Dream, where he talked about Jackie Robinson. His baseball knowledge extended far beyond the Dodgers. He became a widely known baseball historian, acted as vice-president of the Society for American Baseball Research (SABR), and established the Washington Metro Chapter of the SABR. Later in his life Gabriel was honored by the Dodgers when they inducted him into the Brooklyn Dodgers Hall of Fame, an honor not usually given to fans. Gabriel was an important part of the Dodger community. He became close friends with a number of widows of former players and visited them often. Ronald Gabriel died in July, 2009 at the age of 68.
Related Materials:
Materials in the Archives Center

Archives Center Sports Memorabilia Collection, circa 1970 to present, #796

Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, AC0545

Lebanon Valley Baseball League Collection, 1936-1963, AC0067

Eleanor Linkous Washington, D.C. Sports Memorabilia Collection, 1925-1956, AC0774

Lou Newman Collection of Baseball Memorabilia, 1895-1999, AC0696

Sioux City Ghosts Collection, 1920s-1983, AC0634

Stall and Dean Company Records, 1898-1998, AC0669
Provenance:
Collection bequeathed to the National Museum of American History by Ronald Gabriel through Tom Cholis, October 15, 2008.
Restrictions:
Copyright held by the Smithsonian Institution. Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Reproduction permission from the Archives Center: reproduction fees may apply.
Rights:
Collections items available for reproduction but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Reproudction permission from the the Archives Center: reproduction fees may apply.
Topic:
Collectors and collecting  Search this
Collectibles  Search this
Baseball players  Search this
Baseball  Search this
Sports -- Collectibles  Search this
Genre/Form:
Placemats
Photographs -- Black-and-white photoprints -- Silver gelatin -- 20th century
Ephemera -- 20th century
Photographs -- Photoprints -- Silver gelatin -- 2000-2010
Packaging
Newsletters -- 20th century
Newsletters -- 21st century
Scrapbooks -- 20th century
Ephemera -- 21st century
Baseball cards
Tickets
Citation:
Ronald Gabriel Collection of Baseball Memorabilia, circa 1912-2009, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1178
See more items in:
Ronald Gabriel Collection of Baseball Memorabilia
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1178
Online Media:

Ronald S. Korda Collection of Sports and Trading Cards

Creator:
Korda, Ronald S., -1996  Search this
Korda, Catherine  Search this
Extent:
57 Cubic feet (259 boxes, 1 oversized folder)
Type:
Collection descriptions
Archival materials
Albums
Baseball cards
Collecting cards
Posters
Programs
Stickers
Date:
1952-1996
Summary:
Sports and trading cards, 1952-1996, amassed by card collector Ronald S. Korda. The sports cards are subdivided by sport. Baseball cards, (1952-1996), comprise the vast majority of the sports cards, while football (1968-1996) and hockey (1968-1996) are the two next largest subseries. There are lesser quantities of cards for basketball, and only a few each for all other sports, such as racing, skiing, etc. Non-sports cards cover a large variety of popular culture topics, including motion pictures, television programs, popular music, toys, games, cars and trucks, comics, fantasy art, and many other subjects. Some ephemeral items are also included in the collection, such as sticker albums, posters and programs
Scope and Contents:
This collection is divided into two main series, Series 1, Sports; and Series 2, Non-Sports.

Series 1, Sports, comprises more than 90% of the collection. Within Series 1, the collection is divided into seven subseries:

Subseries 1.1: Baseball;

Subseries 1.2: Football;

Subseries 1.3: Hockey;

Subseries 1.4: Basketball;

Subseries 1.5: Other Sports;

Subseries 1.6: Sports programs, schedules and other paper ephemera; toys, souvenirs and novelty items;

Subseries 1.7: Sports card packaging.

Subseries 1.1 is the largest, with baseball cards making up approximately 70% of the entire Korda collection. Within the first three subseries, the cards are further subdivided into cards in sets, which are sleeved, and cards in packs, which are stored in card-sized boxes. Subseries D and E are in packs only. Both cards in sets and in packs have been arranged alphabetically by manufacturer, and thereunder, chronologically. Within sets, cards are arranged in numerical order by card number. In cases where, for baseball cards, titles of sets were unclear or ambiguous, the reference book Sports Collector's Digest's Standard Catalog of Baseball Cards (which in this finding aid will be referred to as Standard Catalog) was used to determine how card sets should be titled. Likewise, in the rare cases in which cards were not numbered within sets, the order used was that given in Standard Catalog. In the case of football and hockey, Beckett's Football Card Monthly and Beckett's Hockey Card Monthly were used as reference guides.

Series 2: Non-Sports, is arranged into twenty three subseries:

Subseries 2.1: Mass Media and Entertainment

Subseries 2.2: Education

Subseries 2.3: Comic Books and Strips

Subseries 2.4: Toys and action figures

Subseries 2.5: Literature

Subseries 2.6: Automotive Themes

Subseries 2.7: Crime and Law Enforcement

Subseries H: Military Topics

Subseries 2.8: Biography

Subseries 2.9: Fine Arts

Subseries 2.10: Adult Themes

Subseries 2.11: Beauty Contests

Subseries 2.12: Video Games

Subseries 2.13: Parodies

Subseries 2.14: Product Advertising

Subseries 2.15: Fantasy Art

Subseries 2.16: Monsters

Subseries 2.17: Card Games

Subseries 2.18: Stickers, patches and tattoos

Subseries 2.19: Toys, games, puzzles, post cards and posters

Subseries 2.20: Pogs, caps and gum wrappers

Subseries 2.21: Oversize of above topics

Subseries 2.22: Non-card items, relating to above topics

Subseries 2.1, Mass media and entertainment, is the largest of the non-sports categories, comprising movies, television and music. Other subseries are similarly subdivided. Unlike the majority of the sports cards, the non-sports cards are stored in small, card-sized cartons, which have been assigned the letters A through DD, and are stored in 4 Paige boxes and 1 document box. They are listed here according to titles of packs.
Arrangement:
The collection is divided into two series.

Series 1: Sports

Series 2: Non-sports
Biographical note:
Ronald Korda, an employee of NBC television and a man of modest, middle class means, began assembling his card collection in childhood after receiving a pack of cards as a party favor. After that initial inspiration, he began his collecting hobby which was his passion until his death in March, 1996. In the early years of his hobby, he collected baseball cards, later expanding to other sports as well as cards on diverse popular culture topics. Among these topics are films, television, popular music, science and nature, comics and magazines, toys and action figures, games, and products, and in addition to cards, there are stickers, sticker albums, tattoos, gum wrappers, puzzles, games and other novelty items. Numerous foreign issues are included. He amassed his collection by attending cards and collectibles shows and seeking out reputable dealers, and by purchasing factory sets when they became available. He was selective and careful, and in the case of the sports cards, succeeded in acquiring complete sets of virtually every series which he collected. (With the non-sports cards, he tended to collect samples rather than entire sets.) This thoroughness is what makes this collection rare and possibly unique among any card collections in public or private hands. With few exceptions, there are no cards missing, and virtually all are in mint or near mint condition. The Kordas could have sold their collection for a fortune, but felt it important that the collection stay together as a unit. Mr. Korda, in an emotional article entitled "Collections Should Live Forever" written for Baseball Hobby News, referred to his collection as "my card family" and expressed the fear that the family would be split up after he died. He approached the Smithsonian late in 1995. Just days before the Archives Center was to acquire the collection, Mr. Korda died. Finalization of his gift was completed by his wife.
History:
Although baseball and other trading cards date back to the nineteenth century, with some of the earliest accompanying packages of tobacco, they gained great popularity during the Depression with the advent of the bubble gum card. In the post-World War II years, and especially during the prosperous decade of the 1950s, they began to enjoy tremendous popularity, as the technology for producing them improved. The market rapidly expanded, and cards for other sports and other topics became popular, just as competition among manufacturers was heating up. The earliest trading cards accompanied packs of tobacco, but were eventually used to advertise gum, cookies, soft drinks, baked goods, hot dogs, and numerous other products. Card manufacturers, such as Topps, changed card formats with each new set, varying the presentation of statistics, vertical and horizontal orientation, use of action shots, candid shots and portraits, and inclusion of puzzles, games, fold-outs, and other novelties. They also added new features, such as trivia questions, cartoons, and holograms. As the hobby has changed, so have trading cards. Today's glossy, high-tech trading cards bear little resemblance to the tobacco cards of the 19th century or even to the cards produced during the "golden age" of cards in the 1950s. This collection represents a very diverse sampling of the card hobby from the 1950s to the 1990s.
Separated Materials:
Some card packaging was transferred to the Museum's Division of Cultural History (now Division of Cultural and Community Life).
Provenance:
The entire collection was donated to the Archives Center in April, 1996 by Mr. Korda's widow, Catherine Korda. Some of the card packaging was transferred by the Archives Center to the Division of Cultural History.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270

Use of this collection by researchers requires compliance with security procedures more stringent than those required for other collections in the Archives Center. This is due to the high value and rarity of some of the items in this collection. Autographed items, and cards valued at higher than $300 by Standard Catalog and Beckett's are stored separately, and may be seen only with special permission from the Reference Archivist, and then only in cases (such as photography or scanning) where it is deemed a necessity.

Color photocopies have been placed in sleeves where these items would normally be stored. When using card boxes, only six at a time may be requested from the Reference Archivist, and unlike other collections, may not be reserved in advance (i.e., on each separate research visit, a researcher must request boxes only for that visit.)

Card sleeves may be taken out of the binders for photocopying only with the permission and the supervision of the Archives Center staff. Cards may not be taken from sleeves, except with the permission and supervision of Archives Center staff. This may involve making advance arrangements with the Archives Center staff. These procedures are necessary for the preservation of this exceptional collection in perpetuity.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Baseball  Search this
Baseball players  Search this
Basketball  Search this
Basketball cards  Search this
Cards  Search this
Collectibles  Search this
Collectors and collecting  Search this
Football  Search this
Football cards  Search this
Football players  Search this
Hockey  Search this
Hockey players  Search this
Motion pictures  Search this
Popular music  Search this
Popular culture  Search this
Sports -- Collectibles  Search this
Sports -- 1950-2000  Search this
Sports cards  Search this
Television programs  Search this
Television personalities  Search this
Genre/Form:
Albums
Baseball cards
Baseball cards -- 1950-2000
Collecting cards
Posters -- 20th century
Programs -- Sports
Stickers
Citation:
Ronald S. Korda Collection of Sports and Trading Cards, 1952-1996, Archives Center, National Museum of American History. Gift of Catherine Korda.
Identifier:
NMAH.AC.0545
See more items in:
Ronald S. Korda Collection of Sports and Trading Cards
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0545
Online Media:

Sidney C. Woodward papers

Creator:
Woodward, Sidney C., 1890-1963  Search this
Names:
Casson Galleries  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Cady, Harrison, 1877-1970  Search this
Henri, Robert, 1865-1929  Search this
Hind, C. Lewis (Charles Lewis), 1862-1927  Search this
Kent, Rockwell, 1882-1971  Search this
La Farge, John, 1835-1910  Search this
Murphy, Hermann Dudley, 1867-1945  Search this
Oakley, Violet, 1874-1961  Search this
Pach, Walter, 1883-1958  Search this
Pennell, Elizabeth Robins, 1855-1936  Search this
Ryder, Chauncey F., 1868-1949  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1823-1963
bulk 1915-1932
Summary:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.
Scope and Contents:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.

Artists that Woodward corresponded with and collected letters from include Ernest L. Blumenschein, Harrison Cady, Robert Henri, C. Lewis Hind, Rockwell Kent, John La Farge, Hermann Dudley Murphy, Violet Oakley, Water Pach, Elizabeth Robins Pennell, and Chauncey Foster Ryder, among many others. A significant number of letters in this collection were sent by his brother, marine painter Stanley, during his service in both World Wars.
Arrangement:
The collection is arranged as 6 series.

Series 1: Correspondence and Collected Letters, 1823-1963 (2.2 linear feet; Box 1-3)

Series 2: Biographical Material, 1918 (1 folder; Box 3)

Series 3: Writings, circa 1880-1940 (0.1 linear feet; Box 3)

Series 4: Printed Material, circa 1880-1963 (0.4 linear feet; Box 3-4)

Series 5: Photographs, 1910s-1940s (4 folders; Box 4)

Series 6: Scrapbooks, circa 1920-1940 (0.7 linear feet; Box 5, BV 6-7)
Biographical / Historical:
Sidney C. Woodward (1890-1963) was an art critic and editor in Boston, MA. Woodward collected letters and autographs from notable artists, as well as manuscripts relating to art and theater.

Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Stanley, marine painter and illustrator. Woodward was an art critic and editor for the Boston Post, Boston Herald, and Christian Science Monitor; and gallery director of Casson Galleries, and Irving & Casson's art gallery in Boston, MA.
Provenance:
A portion of the collection was purchased by the Archives of American Art from Sidney Woodward in 1963. Additional material was donated in 1975 by Mrs. Sidney C. Woodward.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- Massachusetts -- Boston  Search this
Gallery directors -- Massachusetts -- Boston  Search this
Editors -- Massachusetts -- Boston  Search this
Topic:
Art -- Collectors and collecting  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodsidn
See more items in:
Sidney C. Woodward papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-woodsidn

James Robb papers, 1846-1871

Creator:
Robb, James, 1814-1881  Search this
Robb, James, 1814-1881  Search this
Subject:
Kellogg, Miner K. (Miner Kilbourne)  Search this
Kemble, William  Search this
Macalester, Charles  Search this
Powers, Hiram  Search this
Weir, Robert Walter  Search this
Wilde, Richard Henry  Search this
Chapman, J. G. (John Gadsby)  Search this
Gilpin, Henry D. (Henry Dilworth)  Search this
Healy, G. P. A. (George Peter Alexander)  Search this
Huntington, Daniel  Search this
Topic:
Art -- Collectors and collecting -- Louisiana -- New Orleans  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)7238
(DSI-AAA_SIRISBib)209384
AAA_collcode_robbjame
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209384

Charles E. Feinberg collection of artists letters, 1800-1930

Creator:
Feinberg, Charles E., 1899-1988  Search this
Feinberg, Charles E., 1899-1988  Search this
Subject:
Gill, James Dwyer  Search this
Austin, Ben W.  Search this
Topic:
Artists -- United States -- Autographs  Search this
Autographs -- Collections  Search this
Collectors and collecting  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)5903
(DSI-AAA_SIRISBib)208743
AAA_collcode_feinchar
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208743

Louis George Held papers, 1926-1980

Creator:
Held, Louis George, 1919-  Search this
Held, Louis George, 1919-  Search this
Type:
Scrapbooks
Topic:
Art -- Collectors and collecting  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)7716
(DSI-AAA_SIRISBib)209880
AAA_collcode_heldloui
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209880

John Gellatly letters received from artists, 1887-1931

Creator:
Gellatly, John, 1853-1931  Search this
Gellatly, John, 1853-1931  Search this
Subject:
Wiles, Irving Ramsay  Search this
Church, Frederick S. (Frederick Stuart)  Search this
Thayer, Emma B.  Search this
Thayer, Abbott Handerson  Search this
Barnard, George Grey  Search this
Wood, Charles Erskine Scott  Search this
Ryder, Albert Pinkham  Search this
Type:
Sketches
Illustrated letters
Topic:
Art -- Collectors and collecting -- New York (State) -- New York  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)8212
(DSI-AAA_SIRISBib)210383
AAA_collcode_gelljohn
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210383
Online Media:

John Wanamaker department store art gallery records, [ca. 1908]-1941

Creator:
John Wanamaker (Firm)  Search this
John Wanamaker (Firm)  Search this
Subject:
Cooper, Colin Campbell, Jr  Search this
Bartlett, Paul Wayland  Search this
Munkácsy, Mihály  Search this
Wanamaker, Rodman  Search this
Wanamaker, John  Search this
Topic:
Art -- Collectors and collecting -- Pennsylvania -- Philadelphia  Search this
Art, Modern -- French -- 20th century -- History  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)10145
(DSI-AAA_SIRISBib)213116
AAA_collcode_johnwana
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213116

Lawrence and Barbara Fleischman papers, 1837-1984, bulk 1935-1979

Creator:
Fleischman, Lawrence Arthur, 1925-1997  Search this
Fleischman, Barbara G.  Search this
Fleischman, Lawrence Arthur, 1925-1997  Search this
Subject:
Sellers, Charles Coleman  Search this
Ryder, Albert Pinkham  Search this
Burchfield, Charles Ephraim  Search this
Rattner, Abraham  Search this
Richardson, Edgar Preston  Search this
Richardson, Constance  Search this
Pollack, Peter  Search this
Watkins, Franklin Chenault  Search this
Bailey, Grace  Search this
Arms, John Taylor  Search this
Allston, Washington  Search this
Evergood, Philip  Search this
Eakins, Thomas  Search this
Culver, Charles B. (Charles Beach)  Search this
Bohrod, Aaron  Search this
Bailey, Truman E.  Search this
Krentzin, Earl  Search this
Gentle, Esther  Search this
Fleischman, Barbara  Search this
Marin, John  Search this
University of Michigan. Museum of Art  Search this
United States Information Agency  Search this
Whitney Museum of American Art  Search this
Archives of American Art  Search this
Kraushaar Galleries  Search this
American Federation of Arts  Search this
National Gallery of Art (U.S.)  Search this
Detroit Institute of Arts  Search this
Corcoran Gallery of Art  Search this
M. Knoedler & Co.  Search this
Kennedy Galleries  Search this
Henry Francis du Pont Winterthur Museum  Search this
Pennsylvania Academy of the Fine Arts  Search this
Philadelphia Museum of Art  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Midtown Galleries (New York, N.Y.)  Search this
Milwaukee Art Center  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Type:
Typescripts
Photographs
Topic:
Painting, American  Search this
Art patrons Michigan Detroit  Search this
Artists' studios -- Photographs  Search this
Philanthropists  Search this
Art -- Collectors and collecting -- United States  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)10245
(DSI-AAA_SIRISBib)213339
AAA_collcode_fleilawr
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213339
Online Media:

Selected art related documents from the Ferdinand Julius Dreer Collection, [ca. 1770-1910]

Creator:
Dreer, Ferdinand J. (Ferdinand Julius), 1812-1902  Search this
Dreer, Ferdinand J. (Ferdinand Julius), 1812-1902  Search this
Topic:
Art -- Collectors and collecting  Search this
Theme:
Art Market  Search this
Record number:
(DSI-AAA_CollID)10885
(DSI-AAA_SIRISBib)214662
AAA_collcode_dreeferd
Theme:
Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214662

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