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Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.
Arrangement:
The collection is arranged into six series:

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Art museums -- Pennsylvania -- Pittsburgh  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

Isabella Stewart Gardner papers

Creator:
Gardner, Isabella Stewart, 1840-1924  Search this
Names:
Duveen Brothers  Search this
Isabella Stewart Gardner Museum  Search this
Museum of Fine Arts, Boston  Search this
Wildenstein Galleries  Search this
Abbott, Lyman, 1835-1922  Search this
Adams, Brooks  Search this
Agassiz, Alexander, 1835-1910  Search this
Agassiz, Elizabeth Cabot Cary, 1822-1907  Search this
Agassiz, Louis, 1807-1873  Search this
Agostini, Luigi  Search this
Aldrich, Thomas Bailey, 1836-1907  Search this
Andrew, A. Piatt (Abram Piatt), 1873-1936  Search this
Anisfeld, Boris Israelevich, 1879-1973  Search this
Arliss, George, 1868-1946  Search this
Aïdé, Hamilton, 1826-1906  Search this
Balch, Anne L.  Search this
Barnard, George Grey, 1863-1938  Search this
Barnes, Grace Edith  Search this
Beaux, Cecilia, 1855-1942  Search this
Berenson, Bernard, 1865-1959  Search this
Berenson, Mary, 1864-  Search this
Bigelow, William Sturgis, 1850-1926  Search this
Blake, William P. (William Phipps), 1826-1910  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Bode, Wilhelm von, 1845-1929  Search this
Brimmer, Martin, 1829-1896  Search this
Brown, J. Appleton, 1844-  Search this
Bunker, Dennis Miller, 1861-1890  Search this
Burroughs, Bryson, 1869-1934  Search this
Byard, Theodore  Search this
Carter, Morris, 1877-  Search this
Chalfin, Paul, 1874-  Search this
Chapman, Conrad Wise, 1842-1910  Search this
Chapman, John Jay, 1862-1933  Search this
Collins, Alfred Quinton, d. 1903  Search this
Cook, Walter W. S. (Walter William Spencer), 1888-1962  Search this
Coolidge, Archibald Cary, 1866-1928  Search this
Coolidge, Thomas Jefferson, 1831-1920  Search this
Copeland, Charles Townsend, 1860-1952  Search this
Cox, Kenyon, 1856-1919  Search this
Cram, Ralph Adams, 1863-1942  Search this
Crawford, F. Marion (Francis Marion), 1854-1909  Search this
Crosby, Raymond Moreau, 1876-1945  Search this
Cross, Sally  Search this
Curtis, Ralph W. (Ralph Wormeley), 1854-1922  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
Cushman, Charlotte, 1816-1876  Search this
Damrosch, Walter, 1862-1950  Search this
Davis, Richard Harding, 1864-1916  Search this
De Wolfe, Elsie, 1865-1950  Search this
Dexter, Mary  Search this
Dole, Nathan Haskell, 1852-1935  Search this
Donoghue, John, 1853-1903  Search this
Draper, Ruth, 1884-1956  Search this
Dwight, J. S.  Search this
Dwight, Theodore F.  Search this
Dyer, Louis, 1851-1908  Search this
Eliot, Charles William, 1834-1926  Search this
Faulkner, Barry, 1881-1966  Search this
Faure, Gabriel, b. 1877  Search this
Fiske, Minnie Maddern, 1865-1932  Search this
French, Daniel Chester, 1850-1931  Search this
Frick, Helen Clay, 1888-1984  Search this
Fry, Roger Eliot, 1866-1934  Search this
Gabrilowitsch, Ossip, 1878-1936  Search this
Gardner, John Lowell  Search this
Gardner, William Amory  Search this
Gaugengigl, I. M. (Ignaz Marcel), 1855-1932  Search this
Gilder, Richard Watson, 1844-1909  Search this
Gimpel, René  Search this
Godkin, Edwin Lawrence, 1831-1902  Search this
Gordon, Leon, 1884-1960  Search this
Gregory, Lady, 1852-1932  Search this
Guiney, Louise Imogen, 1861-1920  Search this
Hale, Edward Everett, 1822-1909  Search this
Hale, Mary  Search this
Hale, Philip Leslie, 1865-1931  Search this
Hale, Philip Leslie, Mrs  Search this
Hammond, Richard P., 1896-  Search this
Hampden, Walter, 1879-1955  Search this
Hazelton, George C.  Search this
Helleu, Paul, 1859-1927  Search this
Higginson, Henry Lee, 1834-1919  Search this
Higginson, Thomas Wentworth, 1823-1911  Search this
Hinckley, Robert C., 1853-1941  Search this
Hoffman, Malvina, 1887-1966  Search this
Hooper, Edward W.  Search this
Hosmer, Harriet Goodhue, 1830-1908  Search this
Howe, Julia Ward, 1819-1910  Search this
Huntington, Archer M., 1870-1955  Search this
Indy, Vincent d', 1851-1931  Search this
Irving, Henry, Sir, 1838-1905  Search this
Jaccaci, Augusto Floriano, 1857-1930  Search this
James McNeill Whistler, 1834-1903  Search this
Kittredge, William  Search this
Kronberg, Louis, 1872-1965  Search this
Kropotkin, Petr Alekseevich, kni︠a︡zʹ, 1842-1921  Search this
La Farge, John, 1835-1910  Search this
Ladd, Anna Coleman, 1878-1939  Search this
Lamb, Charles R. (Charles Rollinson), 1860-1942  Search this
Lanman, Charles, 1819-1895  Search this
Loring, Charles Greely, 1828-1902  Search this
Lowell, James Russell, 1819-1891  Search this
MacKnight, Dodge, 1860-1950  Search this
Macomber, Mary L. (Mary Lizzie), 1861-1916  Search this
Mansfield, Richard, 1857-1907  Search this
Manship, Paul, 1885-1966  Search this
Mather, Frank Jewett, 1868-1953  Search this
McComas, Francis John, 1874-1938  Search this
Melba, Nellie, Dame, 1861-1931  Search this
Millet, Francis Davis, 1846-1912  Search this
Mitchell, S. Weir (Silas Weir), 1829-1914  Search this
Modjeska, Helena, 1840-1909  Search this
Monteux, Pierre, 1875-1964  Search this
Mosby, John Singleton, 1833-1916  Search this
Murray, Gilbert  Search this
Norton, Andrews, 1786-1853  Search this
Norton, Lily  Search this
Norton, Richard  Search this
O'Connell, William, 1859-1944  Search this
Okakura, Kakuzō, 1862-1913  Search this
Okakura, Kakuzō, 1862-1913  Search this
Oliver, Jean Nutting, d. 1946  Search this
Partridge, William Ordway, 1861-1930  Search this
Pater, Walter, 1839-1894  Search this
Pavlova, Anna, 1881-1931  Search this
Peirce, Waldo, 1884-1970  Search this
Pennell, Joseph, 1857-1926  Search this
Pennington, Harper, 1854 or 5-1920  Search this
Perry, Lilla Cabot  Search this
Pickering, Edward C. (Edward Charles), 1846-1919  Search this
Pitman, Sophia L., 1855-1943  Search this
Prichard, Matthew Stewart  Search this
Quinn, John, 1870-1924  Search this
Reid, Robert, 1862-1929  Search this
Rives, Amélie, 1863-1945  Search this
Roberts, Elizabeth Wentworth, 1871-1927  Search this
Rodin, Auguste, 1840-1917  Search this
Ross, Denman Waldo, 1853-1935  Search this
Rothenstein, Will  Search this
Russell, Lillian, 1861-1922  Search this
Sachs, Paul J. (Paul Joseph), 1878-1965  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Sanborn, F. B. (Franklin Benjamin), 1831-1917  Search this
Sargent, Charles Sprague, 1841-1927  Search this
Sargent, John Singer, 1856-1925  Search this
Sears, Sarah C., 1858-1935  Search this
Slade, C. Arnold (Caleb Arnold), 1882-1961  Search this
Slade, Irene  Search this
Sleeper, Henry Davis, 1878-1934  Search this
Smith, Francis Hopkinson, 1838-1915  Search this
Smith, George Warren  Search this
Smith, Joseph Lindon, 1863-1950  Search this
Spaulding, Albert C. (Albert Clanton), 1914-1990  Search this
St. Denis, Ruth, 1880-1968  Search this
Sterne, Maurice, 1878-1957  Search this
Stillman, William James, 1828-1901  Search this
Story, Julian, 1857-1919  Search this
Story, Waldo, 1855-1915  Search this
Swift, Henry & Mary Coffin  Search this
Symonds, John Addington, 1840-1893  Search this
Terry, Ellen, Dame, 1847-1928  Search this
Thaxter, Celia, 1835-1894  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Thayer, William Roscoe, 1859-1923  Search this
Tiffany, Mary A. (Mary Adeline)  Search this
Van Rensselaer, Schuyler, Mrs., 1851-1934  Search this
Wadsworth, Adelaide E., 1844-1928  Search this
Walker, Francis Amasa, 1840-1897  Search this
Ward, Humphry, Mrs., 1851-1920  Search this
Warren, Fiske, Mrs  Search this
Wheelwright, Edmund March, 1854-1912  Search this
White, Margaret  Search this
Whitman, Sarah  Search this
Wister, Owen, 1860-1938  Search this
Woodbury, Charles H. (Charles Herbert), 1864-1940  Search this
Zogbaum, Rufus Fairchild, 1849-1925  Search this
Zorn, Anders, 1860-1920  Search this
Zorn, Anders, Mrs  Search this
Extent:
40 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1760-1956
Scope and Contents:
Letters, business records, diary, and photographs.
REEL 380-413: Primarily correspondence, mostly Gardner's own, but including family correspondence and Gardner Museum correspondence. Also included are misc. items and printed material. Correspondents include: Edwin Austin Abbey, Lyman Abbott, Brooks Adams, Alexander Agassiz, Elizabeth C. Agassiz, Louis Agassiz, Luigi Agostini, Hamilton Aide, Thomas B. Aldrich, Abram P. Andrew, Boris Anisfeld, George Arliss, Anne L. Balch, George G. Barnard, Grace Edith Barnes, Cecilia Beaux, Martin Birnbaum, William Sturgis Bigelow, William Phipps Blake, Edwin Howland Blashfield, Wilhelm von Bode, Martin Brimmer, J. Appleton Brown, Dennis Miller Bunker, Bryson Burroughs, Theodore Byard, Morris Carter, Paul Chalfin, Conrad Chapman, John Jay Chapman, Alfred Q. Collins,
Frederick Shepard Converse, Walter William Spencer Cook, Archibald Cary Coolidge, Thomas Jefferson Coolidge, Charles Townsend Copeland, Kenyon Cox, Ralph Adams Cram, Francis Marion Crawford, Raymond Crosby, Sally Cross, Ralph W. Curtis, Howard G. Cushing, Charlotte Cushman, Walter Damrosch, Richard Harding Davis, Elsie De Wolfe, Mary Dexter, Nathan H. Dole, John Donoghue, Ruth Draper, Duveen Brothers, J. S. Dwight, Theodore F. Dwight, Louis Dyer, Charles W. Eliot, Barry Faulkner, Gabriel Faure, Minnie Maddern Fiske, Daniel Chester French, Helen C. Frick, Roger E. Fry, Ossip Gabrilowitsch, John Lowell Gardner, William Amory Gardner, I. M. Gaugengigl, Richard Watson Gilder, Rene Gimpel, Edwin L. Godkin, Leon Gordon, Lady Augusta Gregory, Louise I. Guiney, Edward E. Hale,
Mary (Mrs. Richard Walden) Hale, Philip Leslie Hale, Mrs. Philip Hale, Richard Hammond, Walter Hampden, George C. Hazelton, Paul Helleu, Henry Lee Higginson, Thomas W. Higginson, Robert Hinckley, Malvina Hoffman, Edward W. Hooper, Harriet Hosmer, Julia W. Howe, Archer M. Huntington, Vincent d'Indy, Henry Irving, August F. Jaccaci, Clarence King, William Kittredge, Louis Kronberg, Petr A. Kropotkin, Anna C. Ladd, John La Farge, Charles Rollinson Lamb, Charles Lanman, Charles G. Loring, James R. Lowell, Dodge Macknight, Mary L. Macomber, Richard Mansfield, Paul Manship, Frank J. Mather, Francis John McComas, Nellie Melba, Francis Davis Millet, S. Weir Mitchell, Helena Modjeska, Pierre Monteux, John S. Mosby, Gilbert Murray,
Museum of Fine Arts, Boston, Andrews Norton, Lily Norton, Richard Norton, William O'Connell, Kazuzo Okakura, Jean N. Oliver, William O. Partridge, Walter Pater, Anna Pavlova, Waldo Peirce, Joseph Pennell, Harper Pennington, Lilla Cabot Perry, Edward C. Pickering, Sophia L. Pitman, Matthew Stewart Prichard, John Quinn, Robert Reid, Amelie Rives, Elizabeth W. Roberts, Auguste Rodin, Denman Ross, Will Rothenstein, Lillian Russell, Paul J. Sachs, Augustus Saint-Gaudens, Ruth St. Denis, Franklin B. Sanborn, Charles Sprague Sargent, John Singer Sargent, J.M. Sears, C. Arnold Slade, Irene Slade, Henry Davis Sleeper, F. Hopkinson Smith, George Warren Smith, Joseph L. Smith, Albert Spaulding, Maurice Sterne, William James Stillman, Julian Story, Thomas W. Story, Henry Swift,
John Addington Symonds, Ellen Terry, Celia Thaxter, Abbott H. Thayer, William R. Thayer, Mary A. Tiffany, Mrs. Schuyler Van Rensselaer, Adelaide E. Wadsworth, Francis Amasa Walker, Mrs. Humphry Ward, Mrs. Fiske Warren, Edmund March Wheelwright, James McNeill Whistler, Margaret White, Sara de Prix Wyman Whitman, Wildenstein Galleries, Owen Wister, Charles H. Woodbury, Rufus F. Zogbaum, Anders Zorn, Mrs. Anders Zorn, and others.
REELS 631-632: Personal papers of Gardner and some records of the Isabella Stewart Gardner Museum including dealers' files containing invoices, notes, cancelled checks, and letters; a record book, "Prices Paid for Paintings," 1917; a record book, "Prices Paid for Works of Art"; 118 installation photographs of the museum as arranged by Gardner, 1924; a diary kept in Egypt, 1874, with sketches; a diary kept in Shanghai and India, 1883-1884; "Directions for my funeral," 1912; and "Suggestions for Running a Museum," 1913.
REELS 696-698: Letters from Bernard Berenson to Gardner, 1887-1924. Letters contain references to literary topics, Berenson's impressions of Europe, various paintings and artists, advice to Gardner on the purchase of paintings and information on their sale.
REEL 846: Checklist of Gardner's letters to Bernard and Mary Berenson, 1894-1924; typescripts of personal and official correspondence (originals found on AAA microfilm reels 696-698), 1887-1924.
Biographical / Historical:
Art patron, collector, and museum founder; Boston, Mass. Immediately after graduation from Harvard, Bernard Berenson was hired by Gardner to travel throughout Italy collecting Italian Renaissance art for her recreated Venetian palazzo in Boston. She established her palazzo as a museum of fine European art with stipulations that after her death none of the exhibited works was to be moved or rearranged, but left as she had designed during her lifetime.
Provenance:
Microfilm lent by Isabella Stewart Gardner Museum for duplicating, 1972-1975.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art patrons -- Massachusetts -- Boston  Search this
Topic:
Art -- Collectors and collecting -- Massachusetts -- Boston  Search this
Art, Renaissance -- Massachusetts -- Boston  Search this
Art, Italian -- Italy -- Venice  Search this
Painting, Renaissance  Search this
Sculpture, Renaissance  Search this
Function:
Art museums -- Massachusetts -- Boston
Identifier:
AAA.gardisab
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gardisab

Martin Birnbaum papers

Creator:
Birnbaum, Martin, 1878-1970  Search this
Names:
Fogg Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Philadelphia Museum of Art  Search this
Scott & Fowles (Firm)  Search this
Beardsley, Aubrey, 1872-1898  Search this
Beaux, Cecilia, 1855-1942  Search this
Bruce, Edward, 1879-1943  Search this
Bufano, Beniamino, 1898-1970  Search this
Chanler, Robert Winthrop, 1872-1930  Search this
Choate, Mabel, 1870-1958  Search this
Clark, Stephen C. (Stephen Carlton), b. 1882  Search this
Cœdès, George  Search this
Davis, Edmund  Search this
Davis, Reginald  Search this
Despiau, Charles, 1874-1946  Search this
Diederich, William Hunt, 1884-1953  Search this
Dillingham, Louise  Search this
Douglas, Norman, 1868-1952  Search this
Dulac, Edmund, 1882-1953  Search this
Fernández, Luis, 1900-1973  Search this
Haseltine, Herbert, 1877-1962  Search this
Hoffman, Malvina, 1887-1966  Search this
Hoowij, Jan, 1907-  Search this
Jacobs, Leonebel  Search this
John, Augustus, 1878-1961  Search this
Jones, Lois Mailou, 1905-1998  Search this
Kester, Lenard, 1917-  Search this
Manship, Paul, 1885-1966  Search this
McIlhenny, Henry P.  Search this
Melchers, Gari, 1860-1932  Search this
Nadelman, Elie, 1882-1946  Search this
Parmelee, James  Search this
Parrish, Maxfield, 1870-1966  Search this
Potterton, Alfred B.  Search this
Richter, Gisela Marie Augusta, 1882-1972  Search this
Ricketts, Charles S., 1866-1931  Search this
Rock, Joseph Francis Charles, 1884-1962  Search this
Rothenstein, William, Sir, 1872-1945  Search this
Sargent, John Singer, 1856-1925  Search this
Scott, Stevenson  Search this
Scudder, Janet, b. 1873  Search this
Sinclair, Upton, 1878-1968  Search this
Sprinchorn, Carl, 1887-1971  Search this
Stein, Leo, 1872-1947  Search this
Sterne, Maurice, 1878-1957  Search this
Sterner, Albert, 1863-1946  Search this
Werntz, Carl N. (Carl Newland), 1874-1944  Search this
Wilson, Stanley  Search this
Winthrop, Grenville Lindall, 1864-1943  Search this
Extent:
3.2 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Etchings
Photographs
Date:
1862-1967
bulk 1920-1967
Summary:
The papers of New York art dealer, critic, and author Martin Birnbaum measure 3.2 linear feet and date from 1862-1967, with the bulk of the material dating from 1920-1967. The papers document Birnbaum's association with the firm of Scott & Fowles, the lives and activities of his friends and colleagues, and his literary work, through biographical material, correspondence, writings and notes, business records, printed material, a scrapbook, scattered artwork, and photographs of Birnbaum, friends and colleagues, and artwork.
Scope and Contents:
The papers of New York art dealer, critic, and author Martin Birnbaum measure 3.2 linear feet and date from 1862-1967, with the bulk of the material dating from 1920-1967. The papers document Birnbaum's association with the firm of Scott & Fowles, the lives and activities of his friends and colleagues, and his literary work, through biographical material, correspondence, writings and notes, business records, printed material, a scrapbook, scattered artwork, and photographs of Birnbaum, friends and colleagues, and artwork.

Correspondence, primarily letters received by Birnbaum in New York, and throughout Europe from 1917-1960s, reflects Birnbaum's association with Scott & Fowles, particularly Stevenson Scott, and includes many details about the lives and activities of his correspondents, among them: artists Edward Bruce, Cecilia Beaux, Beniamino Bufano, Stephen C. Clark, Louise Dillingham, William Hunt Diedrich, Luis Fernandez, Herbert Haseltine, Jan Hoowij, Malvina Hoffman, Leonebel Jacobs, Lenard Kester, Lois Mailou Jones, Paul Manship, Gari Melchers, Maxfield Parrish, Charles S. Ricketts, William Rothenstein, John Singer Sargent, Janet Scudder, Carl Sprinchorn, Maurice Sterne, Albert Sterner, Carl N. Wertz, and Stanley Wilson. Also found is correspondence with art collectors and patrons including Mabel Choate, Edmund Davis, Reginald Davis, Henry P. McIlhenny, James Parmalee, Edith Wetmore, and Grenville Windall Linthrop, and museums including the Fogg Museum, the Metropolitan Museum of Art and then curator Gisela Marie Augusta Richter, and the Philadelphia Museum of Art. Correspondence with scholars, writers, and publishers including George Coedes, Edmund Dulac, Joseph Francis Charles Rock, Upton Sinclair and others, documents aspects of Birnbaum's literary and scholarly work.

Writings include drafts of The Last Romantic, including Upton Sinclair's revision, and some of Birnbaum's early published and unpublished writings, as well as notes on Aubrey Beardsley.

Business records include financial records such as bills, receipts, canceled checks and statements for sales of artwork, and scattered legal records.

A small amount of printed material primarily consists of programs for musical events which evidence Birnbaum's early success as a violinist, as well as scattered news clippings, 2 exhibition catalogs, and announcements for the publications of Angkor and the Mandarin Road and The Last Romantic. Additional printed material about Birnbaum can be found in the dismantled scrapbook, 1960-1961.

Artwork includes 2 etchings and a sketch by Birnbaum, bookplates by various artists, circa 10 sketches by other and unidentified artists, and 3 cards with original artwork.

Photographs include snapshots and portraits of Birnbaum and artists and friends, among them: Robert Chanler, Charles Despiau, Norman Douglas, Luis Fernandez, Herbert Haseltine, Augustus John, Paul Manship, Gari Melchers, Elie Nadelman, Albert Sterner, Stevenson Scott, and Grenville Lindall Winthrop. Also found is a photo of Birnbaum with Edward Bruce, Alfred Potterton, Leon Stein, and Maurice Sterne, circa 1915-1916, and photographs proposed for use in The Last Romantic, travel snapshots, and photos of artwork.
Arrangement:
Collection is arranged as 8 series.

Series 1: Biographical Material, 1890-1950s (0.3 linear feet; Box 1, OVs 4-5)

Series 2: Correspondence, 1862-1967 (1.7 linear feet; Boxes 1-2)

Series 3: Writings and Notes, circa 1890-circa 1960 (0.45 linear feet; Box 2)

Series 4: Business Records, 1918-1967 (0.15 linear feet; Box 2)

Series 5: Printed Material, 1895-circa 1960 (0.15 linear feet; Box 3)

Series 6: Scrapbook, 1960-1961 (1 folder; Box 3)

Series 7: Artwork, circa 1890-circa 1960 (0.15 linear feet; Box 3)

Series 8: Photographs, circa 1900-circa 1960s (0.3 linear feet; Box 3)
Biographical / Historical:
New York art dealer, critic, and author Martin Birmbaum (1878-1970) was the manager of the American branch of the Berlin Photographic Company in New York City from 1910–1916, and a longtime partner in the art firm Scott & Fowles. He spent the later part of his career building the Grenville Lindall Winthrop Collection, now at the Fogg Museum.

Birnbaum immigrated to the United States from Hungary as a child. He was an accomplished violinist who studied at City College of New York, and graduated with a law degree from Columbia University in 1901, but developed a life-long interest in art during visits to Europe. As manager of the Berlin Photographic Company he had great success in staging art exhibitions at the company's New York galleries, which led him to a junior partnership in the Fifth Avenue firm of art dealers, Scott & Fowles. Birnbaum traveled widely and built relationships with many of the prominent artists and art collectors of his day and, in addition to the Grenville Lindall Winthrop collection, was influential in developing other important art collections including those of Edward Davis, Reginald Davis, and Henry P. McIlhenny.

Birnbaum wrote widely about his experiences and encounters in the world of wealthy socialites, literary salons, artists, art patrons, and collectors in publications such as Aubrey Vincent Beardsley (Berlin Photographic Co., 1911), Oscar Wilde: Fragments and Memories (J.F. Drake, Incorporated, 1914) , Vanishing Eden:Wanderings in the Tropics (New York: William E. Rudge's Sons, 1942), Angkor and the Mandarin Road (Vantage Press, 1952), and The Last Romantic (Twayne Publishers, 1961). He died in 1970 at the age of 92.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels N698, N698A-N698B) including correspondence, bookplates, sketches, newspaper clippings, and a list of books containing ornamental drawings and illustrations. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Material on reels N698, N698A-N698B were lent for microfilming by Martin Birnbaum in 1967. The rest of the collection was donated in an anonymous gift in 1970 and by Martin Birnbaum's great-nephew, Jerome Ziegler, in 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Martin Birnbaum papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Occupation:
Art critics -- New York (State) -- New York  Search this
Topic:
Authors -- New York (State) -- New York  Search this
Art -- Collectors and collecting  Search this
Art dealers -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Genre/Form:
Sketches
Etchings
Photographs
Citation:
Martin Birnbaum papers, 1962-1967, bulk 1920-1967. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.birnmart
See more items in:
Martin Birnbaum papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-birnmart

Selections from the Philadelphia Museum of Art's Archives of American Art collection

Creator:
Philadelphia Museum of Art  Search this
Names:
Milch Galleries  Search this
Abbe, Robert  Search this
Arms, John Taylor, 1887-1953  Search this
Bartlett, Paul, 1881-1965  Search this
Beal, Gifford, 1879-1956  Search this
Beaux, Cecilia, 1855-1942  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Cadmus, Paul, 1904-1999  Search this
Chagall, Marc, 1887-1985  Search this
Cortissoz, Royal, 1869-1948  Search this
Cox, Kenyon, 1856-1919  Search this
Curran, Charles C. (Charles Courtney), 1861-1942  Search this
De Creeft, José, 1884-1982  Search this
Dehn, Adolf, 1895-1968  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Eakins, Susan Macdowell  Search this
Eakins, Thomas, 1844-1916  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Evergood, Philip, 1901-1973  Search this
Force, Juliana, 1876-1948  Search this
Graham, John, 1887-1961  Search this
Haskell, Ernest, 1876-1925  Search this
Hassam, Childe, 1859-1935  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Lipchitz, Jacques, 1891-1973  Search this
Marsh, Reginald, 1898-1954  Search this
McCarter, Henry, 1866-1942  Search this
Mechlin, Leila, 1874-1949  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Mullikin, Mary Augusta, 1874-1964  Search this
Pennell, Joseph, 1857-1926  Search this
Roberts, George B., Mrs  Search this
Sartain, William, 1843-1924  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sloan, John, 1871-1951  Search this
Valentin, Curt, 1902-1954  Search this
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
4 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Place:
China -- Description and Travel
Date:
1866-1968
Scope and Contents:
Correspondence, printed material, writings, and other personal papers collected by Carl Zigrosser and Leila Mechlin and later added to by others, all relating to American art.
REELS P10-P11 and P14: Letters to Leila Mechlin, Henry Schnakenberg and Hudson Walker. Correspondents include Robert Abbe, John Taylor Arms, Cecelia Beaux, Paul Bartlett, Gifford Beal, Paul Cadmus, Charles Curran, Royal Cortissoz, Kenyon Cox, Philip Evergood, John David Graham, Reginald Marsh, Joseph Pennell, John Sloan and many others. Some letters include printed material and photographs. Mechlin material includes writings, photographs and letters from Mary Augusta Mullikin describing her life and travels in China, 1933. Also included are letters from Adolph Dehn and Jose de Creeft to Juliana Force; from Ernest Haskell and Kenneth Hayes Miller to Carl Zigrosser; miscellaneous letters from Marc Chagall, Thomas Wilmer Dewing, Louis Eilshemius and Childe Hassam; an autobiography of William Sartain; and material on Thomas Eakins, including letters, a list of expenses, 1867, and motion study material,including writings, sketches and photographs taken with a camera invented by Eakins.
REEL 4547: Charles Burchfield letters; Susan and Thomas Eakins material; Jacques Lipchitz correspondence; Henry McCarter letters; and Carl Zigrosser correspondence. The Burchfield letters consist of 41 items, 1929-1947, from Burchfield regarding exhibitions, sales, and his paintings. The Eakins material includes letters from Susan Eakins to the Milch Galleries, 1933-1935, regarding the sale of Thomas Eakins' work, receipts from the Milch Galleries, Thomas' expense book, ca. 1866, for daily living in Paris and Switzerland and an autographed account of expenses while at school in Paris, April 12, 1867, a photograph of Susan Eakins by Carl van Vechten, a photograph of Eakins, and 71 engraved portraits from the collection of Thomas Eakins.
The Lipchitz correspondence is with R. Sturgis Ingersoll regarding Lipchitz's commission for the sculpture "Prometheus." Also included are 8 letters from Curt Valentin to Ingersoll regarding Lipchitz. The McCarter material includes 66 letters, 1933-1942, some containing sketches, from McCarter to Mrs. George B. Roberts regarding paintings, frames, exhibitions, and offering painting advice. The Zigrosser correspondence is regarding the purchase of prints from the regional projects of the WPA for the Philadelphia Museum of Art, and later included in the exhibition "Between Two Wars" at the Whitney Museum of American Art. Included are invoices and inventories of the prints from the various offices.
Provenance:
Material on reels P10-P11 and P14 lent for microfilming, 1954, by the Philadelphia Museum of Art. Additional material on reel 4547 was microfilmed in 1991 as part of AAA's Philadelphia Arts Documentation Project. The idea for the archives originated with Carl Zigrosser, who donated material, solicited it from others (mainly Henry Schnakenberg, Leila Mechlin and Hudson Walker), or pulled it from the files of the Philadelphia Museum of Art. The Museum continues to add to the collection. It is not connected to the Archives of American Art at the Smithsonian Institution.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from the Philadelphia Museum of Art Archives.
Occupation:
Artists -- United States  Search this
Topic:
Art, American  Search this
Artists' writings  Search this
Motion study -- Photographs  Search this
Identifier:
AAA.philmuss
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-philmuss

Albert and Marie Sterner letters received

Creator:
Sterner, Albert, 1863-1946  Search this
Sterner, Marie, 1880-1953  Search this
Names:
Barbirolli, John, Sir, 1899-1970  Search this
Barnard, George Grey, 1863-1938  Search this
Beaux, Cecilia, 1855-1942  Search this
Bellows, George, 1882-1925  Search this
Bigelow, Poultney, b. 1855  Search this
Bourdelle, Emile Antoine, 1861-1929  Search this
Calvé, Emma, 1858-1942  Search this
Chase, William Merritt, 1849-1916  Search this
Churchill, Winston, Sir, 1874-1965  Search this
Collier, Constance, 1878-1955  Search this
Dewey, John, 1859-1952  Search this
Du Maurier, Gerald, Sir, 1873-1934  Search this
Dunn, James Nicol  Search this
Duveen, Joseph Duveen, Baron, 1869-1939  Search this
Ferguson, Elsie  Search this
Genthe, Arnold, 1869-1942  Search this
Gibson, Charles Dana, 1867-1944  Search this
Hampden, Walter, 1879-1955  Search this
Harding, Warren G. (Warren Gamaliel), 1865-1923  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Herford, Oliver, 1863-1935  Search this
Howard, Leslie, 1893-1943  Search this
Irving, Henry, Sir, 1838-1905  Search this
Le Gallienne, Eva, 1899-  Search this
Marlowe, Julia, 1865-1950  Search this
Merivale, Philip, 1886-1946  Search this
Mozkowski, Maurice  Search this
Nazimova, 1879-1945  Search this
Pennell, Joseph, 1857-1926  Search this
Pompelli, Raphael  Search this
Pyle, Howard, 1853-1911  Search this
Roosevelt, Theodore, 1858-1919  Search this
Sargent, John Singer, 1856-1925  Search this
Shaw, Bernard, 1856-1950  Search this
Tree, Herbert Beerbohm, Sir, 1853-1917  Search this
Ward, Humphry, Mrs., 1851-1920  Search this
Weir, Julian Alden, 1852-1919  Search this
Wharton, Edith, 1862-1937  Search this
Wilson, Francis Vaux, 1874-1938  Search this
Zangwill, Israel, 1864-1926  Search this
Extent:
87 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1899-1945
Scope and Contents:
Letters to the Sterners, primarily regarding art and cultural matters.
Letters are from: John Barbirolli, George G. Barnard, Cecelia Beaux, George Bellows, Emile Bourdelle, Poultney Bigelow, Emma Calve, William M. Chase, Winston Churchill, Constance Collier, John Dewey, Gerald du Maurier, John Drew, James N. Dunn, Joseph Duveen, Elsie Ferguson, Arnold Genthe, Charles D. Gibson, Warren G. Harding, Charles W. Hawthorne, Robert Henri, Walter Hampden, Oliver Herford, Leslie Howard, Sir Henry Irving, Eva Le Gallienne, Julie Marlow, Philip Merivale, Maurice Mozkowski, Alla Nazimova, Joseph Pennell, Raphael Pompelli, Howard Pyle, Theodore Roosevelt, John S. Sargent, G. Bernard Shaw, Sir Herbert B. Tree, Mary A. Ward, J. Alden Weir, Edith Wharton, Francis Wilson, and Israel Zangwill.
Biographical / Historical:
Illustrator and painter; New York City. Sterner's wife, Marie, was an art dealer.
Provenance:
Microfilmed 1956 by the Archives of American Art with other art-related papers in the Manuscript Division of the New York Public Library. Included in the microfilming project were selected papers of the Art Division and the Prints Division.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Identifier:
AAA.steralbm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-steralbm

R. Sturgis Ingersoll papers relating to Henry McCarter

Creator:
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Names:
Pennsylvania Academy of the Fine Arts  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Beaux, Cecilia, 1855-1942  Search this
Biddle, Francis, 1886-1968  Search this
Borie, Adolphe, 1877-1934  Search this
Cortissoz, Royal, 1869-1948  Search this
Crane, Alexander  Search this
Cullen, Charles  Search this
Davis, Bernard  Search this
Garber, Daniel, 1880-  Search this
Hall, William Weeks, 1894-1958  Search this
Herman, Leorna Owsky  Search this
Ingersoll, Anna Warren, 1887-1980  Search this
Kendall, William Sergeant, 1869-1938  Search this
McCarter, Henry, 1866-1942  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Rattner, Abraham  Search this
Roosevelt, Nicholas Guy, 1883?-1965  Search this
Walsh, Lorna Gill  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
0.6 Linear feet ((on 1 microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1896-1944
bulk 1930-1943
Scope and Contents:
Material compiled by R. Sturgis Ingersoll preparatory to his biography of Henry McCarter (never completed), primarily Ingersoll's correspondence with McCarter's friends and associates, and McCarter's correspondence collected by Ingersoll.
Included are Ingersoll's correspondence requesting information and documents relating to McCarter; correspondence and clippings regarding the Henry McCarter Memorial Exhibition held at the J.B. Neumann Gallery, New York, N.Y. and at the Pennsylvania Academy of the Fine Arts, 1943; and documents regarding McCarter's estate, 1943, 1944. Among the correspondents are Francis and Katherine Biddle, Mrs. Adolphe Borie (Edith), Alexander Crane, Royal Cortissoz, Charles Cullen, Bernard Davis, Daniel Garber, William Weeks Hall, Mrs. William Sergeant Kendall (Christine Herter), Joanna McCarter (McCarter's neice), Abraham Rattner, Lorna Gill Walsh, Franklin C. Watkins, and others.
McCarter's correspondence is with Albert C. Barnes, Cecilia Beaux, Francis and Katherine Biddle, Adolphe and Edith Borie, Bernard Davis, Lenora Owsley Herman, Anna Warren Ingersoll, R. Sturgis Ingersoll, William Sergeant Kendall, Nicholas Roosevelt, and others. Also included are a manuscript fragment by McCarter about individual expression and the "stifling' traditions of academic training, undated; Hannah Rile Weiman's handwritten notes of a lecture by McCarter at the Pennsylvania Academy of the Fine Arts, 1920 or 28; sketches by McCarter; 12 photographs of McCarter and others, ca. 1930; and clippings.
Biographical / Historical:
Ingersoll was a lawyer, art collector, and President of the Philadelphia Museum of Art; McCarter a Philadelphia painter.
Provenance:
Lent for microfilming 1994 by Mr. Perry Benson, Ingersoll's grandson.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Painters -- Pennsylvania -- Philadelphia  Search this
Lawyers -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American -- Pennsylvania -- Philadelphia  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.ingershm
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ingershm

Clippings

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 3, Folder 19
Type:
Archival materials
Date:
1913-1915
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 5: Printed Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref698

Clippings

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 3, Folder 21
Type:
Archival materials
Date:
1916-1918
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 5: Printed Materials
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref700

Green Alley, Gloucester, Massachusetts

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 3, Folder 35
Type:
Archival materials
Date:
undated
Scope and Contents:
Several pictures depict Beaux outside her home, alone and with others who are unidentified; recent prints from discarded nitrate negatives.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 6: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref701

Beaux's Family Members

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 3, Folder 39
Type:
Archival materials
Date:
undated
Scope and Contents:
Pictured are Beaux's nephew Harry Drinker and her Aunt Eliza; recent prints from discarded nitrate negatives.
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 6: Photographs
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref704

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 16
Type:
Archival materials
Date:
1888 February-March
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref707

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 17
Type:
Archival materials
Date:
1888 March-May
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref708

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 18
Type:
Archival materials
Date:
1888 May-June
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref709

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 20
Type:
Archival materials
Date:
1888 October
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref711

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 25
Type:
Archival materials
Date:
1889 February
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref715

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 26
Type:
Archival materials
Date:
1889 February-March
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref716

General Correspondence

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 27
Type:
Archival materials
Date:
1889 April-May
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref717

Cecilia Beaux Letters to A. Piatt Andrew

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 6
Type:
Archival materials
Date:
1909-1936
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref720

Cecilia Beaux Letters to A. Piatt Andrew

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 10
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref723

Cecilia Beaux Letters to A. Piatt Andrew

Collection Creator:
Beaux, Cecilia, 1855-1942  Search this
Container:
Box 1, Folder 12
Type:
Archival materials
Date:
undated
Collection Restrictions:
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Cecilia Beaux papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Cecilia Beaux papers, 1863-1968. Archives of American Art, Smithsonian Institution.
See more items in:
Cecilia Beaux papers
Cecilia Beaux papers / Series 2: Correspondence
Archival Repository:
Archives of American Art
EDAN-URL:
ead_component:sova-aaa-beauceci-ref725

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