Search Results

Creator:

Dale, Dianne  Search this

Polk, P. H., 1898-1985  Search this

Names:

Barry, Marion, 1936-2014  Search this

Dale, Almore M., 1911-1984  Search this

Dale, Dianne  Search this

Dale, John Henry, Jr., 1888-1973  Search this

Dale, Lucille Emma Patterson, 1889-1973  Search this

Dale, Marie Howard, 1914-2011  Search this

Dale, Norman Edward, 1908-1991  Search this

Garner, Araminta Dale, 1913-1987  Search this

Patterson, Frederick D. (Frederick Douglass), 1901-1988  Search this

Patterson, Wilhelmina Bessie, 1888-1962  Search this

Extent:

6 Linear feet (9 boxes)

Type:

Collection descriptions

Archival materials

Photographs

Programs

Clippings

Correspondence

Ephemera

Postcards

Place:

Anacostia (Washington, D.C.)

Date:

1866 - 1990.

Summary:

The Dale-Patterson family papers, which date from 1866 to 2010 and measure 6 linear feet, document the personal and professional lives of the Dale-Patterson family who came to live in Hillsdale, Anacostia, area of Washington, D.C., in 1892.

Scope and Contents note:

The Dale-Patterson family papers, which date from 1866 to 1990 and measure 6 linear feet, document the personal and professional lives of the Dale-Patterson family who came to live in Hillsdale, Anacostia, area of Washington, D.C., in 1892. The collection is comprised of correspondence, photographs, clippings, and ephemera.

Arrangement note:

The collection is arranged in four series:

Series 1: Dale-Patterson Family papers Series 2: Charles Qualls papers Series 3: Community Organizations Series 4: Subject Files

Biographical/Historical note:

The Dale family came to Washington, DC in 1886 when John Henry Dale, Sr., a gifted self-taught man, obtained a position as clerk in the newly contracted Pension Bureau building at 5th and G Streets, NW. First they lived near 13th Street and Florida Avenue, NW, then moved to Howard Road in Anacostia. Dale built a house at 2619 Nichols Avenue, now Martin Luther King, Jr. Avenue, drawing the plans and supervising the construction. The Dales and only one other family lived in this solidly built house for 100 years before it was sold to a church group and demolished.

General Note:

Finding Aid Note: This finding aid is associated with a MARC collection-level record.361883

Provenance:

The Dale-Patterson Family collection was donated to the Anacostia Community Museum on April 07, 2013.

Restrictions:

Use of the materials requires an appointment. Please contact the archivist at acmarchives@si.edu.

Rights:

The Dale-Patterson Family collection is the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.

Topic:

African Americans  Search this

African American families  Search this

Genre/Form:

Photographs

Programs

Clippings

Correspondence

Ephemera

Postcards

Citation:

Dale-Patterson Family collection, Anacostia Community Museum Archives, Smithsonian Institution, gift of Dianne Dale.

Identifier:

ACMA.06-074

See more items in:

Dale-Patterson Family collection

Archival Repository:

Anacostia Community Museum Archives

GUID:

https://n2t.net/ark:/65665/qa7c29572e9-2bd6-4b2a-8982-b527693b7885

EDAN-URL:

ead_collection:sova-acma-06-074

Topic:

Trees  Search this

Living Collections  Search this

Group:

[vascular plants]

Class:

Equisetopsida

Subclass:

Magnoliidae

Superorder:

Rosanae

Order:

Fagales

Family:

Betulaceae

Genus:

Betula

Species:

papyrifera

Accession Number:

2018-0808A

Restrictions & Rights:

Usage conditions apply

See more items in:

Smithsonian Gardens Tree Collection

On Display:

Enid A. Haupt Garden

Data Source:

Smithsonian Gardens

GUID:

http://n2t.net/ark:/65665/ax7f9ab4525-e545-432f-8f59-5dd25e4da3c5

EDAN-URL:

edanmdm:ofeo-sg_2018-0808A

Editor:

Sherratt, Andrew 1946-2006  Search this

Writer of foreword:

Clark, Grahame 1907-1995  Search this

Physical description:

495 pages illustrations, maps 27 cm

Type:

Books

Reference works

Ouvrages de référence

Date:

1980

Topic:

Archaeology  Search this

Civilization, Ancient  Search this

Homme préhistorique  Search this

Civilisation ancienne  Search this

Archéologie  Search this

archaeology  Search this

Prehistoric peoples  Search this

Call number:

CC165 .C3 1980bX

Restrictions & Rights:

Current Copyright Fee: GBP25.00 0. Uk

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_110234

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

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

Macbeth, William, 1851-1917  Search this

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

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

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

Scope and Content Note:

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

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

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

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

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

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

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

Arrangement:

The collection is arranged into eight series:

Missing Title

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

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

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

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

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

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

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

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

Historical Note:

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

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

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

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

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

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

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

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

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

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

Related Material:

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

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

Provenance:

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

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

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

EDAN-URL:

ead_collection:sova-aaa-macbgall

Physical Description:

wood (overall material)

metal,bronze (overall material)

fabric, satin (overall material)

fabric, velvet (overall material)

red (overall color)

cream (overall color)

gold (overall color)

Measurements:

box: 1.7 cm x 8 cm x 8 cm; 11/16 in x 3 1/8 in x 3 1/8 in

medal: 3 cm x 5 cm; 1 3/16 in x 1 15/16 in

Object Name:

Medal

Associated place:

Vatican City

Credit Line:

Lt. Col. G. R. Phillips, USMC (Ret.)

ID Number:

1989.0570.02

Catalog number:

1989.0570.02

Accession number:

1989.0570

See more items in:

Medicine and Science: Medicine

Religion

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a8-e4de-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1055970

Creator:

James Graham & Sons  Search this

Names:

Coe Kerr Gallery  Search this

Duveen-Graham (Gallery)  Search this

Graham Gallery  Search this

Graham Modern (Gallery)  Search this

Cicero, Carmen, 1926-  Search this

Coheleach, Guy  Search this

Crile, Susan, 1942-  Search this

De Kooning, Elaine  Search this

Dickinson, Edwin Walter, 1891-1978  Search this

Duveen, Albert  Search this

Fogel, Seymour, 1911-1984  Search this

Fried, Nancy  Search this

Graham, Robert Claverhouse, 1913-1994  Search this

Kriesberg, Irving, 1919-  Search this

Melchers, Gari, 1860-1932  Search this

Perrine, Van Dearing, 1869-1955  Search this

Santlofer, Jonathan, 1946-  Search this

Schley, Reeve, 1936-  Search this

Stevens, Peter  Search this

Thorne, Joan, 1943-  Search this

Trieff, Selina, 1934-  Search this

Wyeth, Andrew, 1917-2009  Search this

Wyeth, Jamie, 1946-  Search this

Wyeth, N. C. (Newell Convers), 1882-1945  Search this

Extent:

103.6 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Photographs

Date:

1821

1815

circa 1896-2011

Summary:

The records of the New York City gallery James Graham & Sons measure 103.6 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions.

Scope and Content Note:

The records of the New York City gallery James Graham & Sons measure 103.6 linear feet and date from 1815, 1821, circa 1896-2011 (bulk 1950s-1980s). The collection generally documents the gallery's contemporary art department during the time in which Robert Claverhouse Graham, Sr. worked at the gallery (1940-1979); records prior to 1954 are sparse and scattered. Gallery records include artist files; correspondence; exhibition files; financial records; inventory records; printed materials; sales, loans, and consignment records; scrapbooks; and photographic materials. Also found are records from Coe Kerr Gallery regarding exhibitions of artwork by Jamie Wyeth, and to a lesser extent, Andrew and N.C. Wyeth.

Over the years, the gallery changed names and established contemporary art departments. In addition to records of James Graham & Sons, the collection holds the records of Duveen-Graham Modern Art (in partnership with Albert Duveen), Graham Gallery, Graham Modern, JG|Contemporary, and, to a lesser extent, The Clapp and Graham Co.

Alphabetical files are a mix of business correspondence and business records. The bulk of the series contains correspondence with galleries, museums, other institutions, and, to a lesser extent, clients regarding sales, consignments, and loans of artwork. Also found are materials relevant to the daily operations of the gallery, including correspondence, subject files, and scattered financial, business and legal records.

Exhibition files provide scattered documentation of the gallery's exhibitions through catalogs, clippings, correspondence, guest books, notes, photographs, press materials, price lists, and sales receipts and other financial records.

Artists' Files document the numerous artists who have been represented by the gallery, especially modern American artists. Folders for each artist can contain a variety of materials, including correspondence with the artist or with institutions regarding consignments, loans, sales and exhibitions; photographic materials primarily of artwork; sales invoices; exhibition catalogs, postcards, and other printed materials; press releases; magazine and newspaper clippings; price lists; artist binders; and research materials on artists and artwork. Also found are some subject files, per original arrangement. There is extensive material related to artists Carmen Cicero, Susan Crile, Elaine De Kooning's portrait of President John F. Kennedy, Edwin Dickinson, muralist Seymour Fogel, Nancy Fried, Irving Kriesberg, Gari Melchers, Jonathan Santlofer, Reeve Schley, Peter Stevens, Joan Thorne, and Selina Trieff.

Artwork files document sales, consignments, and loans of artwork primarily from the mid-1980s to 2000s. Materials include agreements and contracts; condition reports; correspondence; invoices and receipts; photographs of artwork; shipping records; and photocopied printed material and other documentation. This series requires written permission from the donor in order to access.

Sales records from 1959-1984 (missing 1974) are found in the Financial Records series. Also found are check stub books from the mid-late 1950s; price lists; records for the Four Seasons Charter Corp.; and scattered banking, consignment, tax, and other financial records. Inventory cards from mid-1950s-1970s and inventory lists, often with notations and prices, are found in the series Inventory Records.

Coe Kerr Gallery Records regarding the Wyeths document Jamie Wyeth's exhibitions primarily from the mid-1970s-early 1980s. Also found is limited material regarding Andrew Wyeth and N.C. Wyeth. Materials include correspondence, photographs, exhibition printed materials, and extensive newspaper clippings.

There are exhibition catalogs, books, announcements, magazines, clippings, postcards, posters and other printed materials related to artists, John Graham & Sons exhibitions, and exhibitions by Graham artists held at other galleries and museums. Also found is an 1815 fifty cent note which was redeemed in 1821.

Seven scrapbooks document discrete aspects of the business, including the gallery's advertising, participation in an art fair, and the careers of artists Guy Coheleach and Van Dearing Perrine. Materials housed in the scrapbooks include clippings, catalogs, photographs, and other printed materials.

Photographic Materials include mostly black and white photographs, negatives, slides and transparencies of artwork; scattered photographs of installations, artists, and the gallery; and a handful of personal snapshots. The bulk of the photographs are undated, but were likely printed between 1950s-1990s.

Arrangement:

The collection is arranged as ten series:

Missing Title

Series 1: Alphabetical Files, circa 1896, 1902-1999, bulk 1955-1986 (Boxes 1-15, 102; 15 linear feet)

Series 2: Exhibition Files, 1912, 1947-2004 (Boxes 16-24, 102; 8.1 linear feet)

Series 3: Artists' Files, circa 1907-2006, bulk 1955-1999 (Boxes 24-62, 95-96, 102-110; 47.5 linear feet)

Series 4: Artwork Files, circa early 1900s-2011, bulk mid-1980s-2009 (Boxes 63-71, 94, 101; 9.3 linear feet)

Series 5: Financial Records, circa 1937-1993 (Boxes 72-76, 96; 4.5 linear feet)

Series 6: Inventory Records, circa 1954-1993 (Boxes 76-78, 96; 2.1 linear feet)

Series 7: Coe Kerr Gallery Records Regarding Wyeths, 1964-1988 (Boxes 78-80, 97; 2.7 linear feet)

Series 8: Printed Materials, 1815, 1821, 1949-2006 (Boxes 81-82, 97; 2.1 linear feet)

Series 9: Scrapbooks, 1897-1990s (Boxes 82, 98-100; 0.9 linear feet)

Series 10: Photographic Materials, 1929-1990s (Boxes 83-93, 96, 100-101, 110; 11.5 linear feet)

Historical Note:

The James Graham & Sons gallery has been owned and managed by the Graham family in New York City since 1857. Throughout its history, the gallery has specialized in decorative arts, antiques, and 19th-early 20th century and contemporary American art.

In 1857, Samuel Graham founded a gallery at 66 Third Street and specialized in furniture. Graham was joined by his son James in the 1880s and expanded the business to include antiques and decorative arts. James A. Graham, the third generation Graham, joined the gallery in the early 20th century. James Graham and antiques dealer Marshall Clapp created Clapp & Graham in 1914, a partnership which was dissolved around 1940.

James R. Graham, the fourth generation Graham, joined the gallery in 1937, followed by his brother Robert Claverhouse Graham, Sr. in 1940. The gallery was then named James Graham & Sons and was located at 514 Madison Avenue. At this time, the gallery specialized in bronzes, ceramics, silver, sculptures, and 19th-early 20th century American art. Robert C. Graham, Sr. introduced modern American art, especially The Eight, into the gallery's inventory.

In 1955, the gallery moved to 1014 Madison Avenue, where it remained until the late 2000s. That same year, Graham opened its first contemporary department with Albert Duveen. Duveen-Graham Modern Art gallery was based on the third floor of the Madison Avenue building and dealt solely in contemporary art until its closing in 1958. Robert C. Graham, Jr. (Robin) joined the gallery in 1963, becoming the fifth generation Graham to run the family business. The gallery is currently located at 32 East 67th Street.

Betsy Fahlman's "James Graham & Sons: A Century and a Half in the Art Business" (2007) was a valuable resource in constructing this Historical Note.

Related Material:

Among the other resources relating to James Graham & Sons in the Archives of American Art is an oral history interview with Robert Claverhouse Graham, November 19, 1976, and the David Herbert papers, 1950-1995.

Provenance:

The James Graham & Sons records were donated in 2007, 2008, and 2012 by Priscilla Caldwell and Jay Grimm of James Graham & Sons and in 2018 by Cameron Shay of James Graham & Sons.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art -- Economic aspects  Search this

Painting -- United States  Search this

Sculpture -- United States  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Scrapbooks

Photographs

Citation:

James Graham & Sons records, 1815, 1821, circa 1896-2011, bulk 1950s-1980s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by Smithsonian Institution Collections Care Preservation Fund

Identifier:

AAA.jamegras

See more items in:

James Graham & Sons records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ac9450b3-244a-4b81-a5b5-0426a0ade6f3

EDAN-URL:

ead_collection:sova-aaa-jamegras

Physical Description:

paper; organic material (unspecified) (overall material)

Measurements:

overall: 33.7 cm x 22.3 cm x .01 cm; 13 9/32 in x 8 25/32 in x in

Object Name:

Paper Money

Circulating Note

Great Ming note

note

Object Type:

paper money

Date made:

1368-99 A.D.

14th century

1368-1399 A.D.

1368 - 1399

Related Publication:

Feingold, Ellen R.. Value of Money, The

Credit Line:

Chase Manhattan Bank

ID Number:

1979.1263.01895

Accession number:

1979.1263

Collector/donor number:

00083

Catalog number:

79.112.CM00083.1

See more items in:

Work and Industry: National Numismatic Collection

Chinese Banknotes

Chinese Paper Money

NNC_Transcription_Center_Chinese_Banknote_01

NNC Chinese Bank Notes

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746b5-0224-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_1251421

Medium:

Bronze

Dimensions:

H x Diam (overall): 18.7 x 6.3 cm (7 3/8 x 2 1/2 in)

Type:

Ceremonial Object

Origin:

Japan

Date:

1185-1333

Period:

Kamakura period

Topic:

Buddhism  Search this

Kamakura period (1185 - 1333)  Search this

stupa  Search this

pagoda  Search this

Japan  Search this

Japanese Art  Search this

ceremony  Search this

Japanese Esoteric Buddhism  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1903.292

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye378ac84c2-418d-45f6-a9ef-a370a123dccd

EDAN-URL:

edanmdm:fsg_F1903.292

Medium:

Bronze

Dimensions:

H (overall): 15.6 cm (6 1/8 in)

Type:

Ceremonial Object

Origin:

Japan

Date:

1185-1333

Period:

Kamakura period

Topic:

Buddhism  Search this

Kamakura period (1185 - 1333)  Search this

vajra  Search this

Japan  Search this

Japanese Art  Search this

ceremony  Search this

Japanese Esoteric Buddhism  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1903.293

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye387c79231-7361-40db-937e-20d2c7cb7edf

EDAN-URL:

edanmdm:fsg_F1903.293

Medium:

Bronze

Dimensions:

H x W (overall): 14.6 x 6.3 cm (5 3/4 x 2 1/2 in)

Type:

Ceremonial Object

Origin:

Japan

Date:

1185-1333

Period:

Kamakura period

Topic:

Buddhism  Search this

Kamakura period (1185 - 1333)  Search this

vajra  Search this

Japan  Search this

Japanese Art  Search this

ceremony  Search this

Japanese Esoteric Buddhism  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1903.294

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye32119b12c-cf5b-4856-863c-9feedc28b1bd

EDAN-URL:

edanmdm:fsg_F1903.294

Medium:

Bronze

Dimensions:

H x W (overall): 14.4 x 6.3 cm (5 11/16 x 2 1/2 in)

Type:

Ceremonial Object

Origin:

Japan

Date:

1185-1333

Period:

Kamakura period

Topic:

Buddhism  Search this

Kamakura period (1185 - 1333)  Search this

Japan  Search this

Japanese Art  Search this

ceremony  Search this

Japanese Esoteric Buddhism  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1903.295

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3914da1b6-7805-448d-a88a-75eac6cebf12

EDAN-URL:

edanmdm:fsg_F1903.295

Medium:

Bronze

Dimensions:

H x W (overall): 14.4 x 6.3 cm (5 11/16 x 2 1/2 in)

Type:

Ceremonial Object

Origin:

Japan

Date:

1185-1333

Period:

Kamakura period

Topic:

Buddhism  Search this

Kamakura period (1185 - 1333)  Search this

Japan  Search this

Japanese Art  Search this

ceremony  Search this

Japanese Esoteric Buddhism  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1903.296

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3c2c7a30c-860e-4605-b757-459cb12f0149

EDAN-URL:

edanmdm:fsg_F1903.296

Medium:

Gilt bronze

Dimensions:

H x W: 28.2 x 12.4 cm (11 1/8 x 4 7/8 in)

Type:

Container

Origin:

Japan

Date:

724

Period:

Nara period

Topic:

Buddhism  Search this

Nara period (645 - 794)  Search this

inscription  Search this

Japan  Search this

Japanese Art  Search this

Credit Line:

Gift of Charles Lang Freer

Accession Number:

F1909.253a-b

Restrictions & Rights:

CC0

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye39d61de85-441e-4e26-8069-bef6d2451dd7

EDAN-URL:

edanmdm:fsg_F1909.253a-b

Medium:

Bronze with gilding

Dimensions:

H x W x D: 21.2 × 17.9 × 0.2 cm (8 3/8 × 7 1/16 × 1/16 in)

Type:

Sculpture

Origin:

Japan

Date:

1141

Period:

Late Heian period

Topic:

Buddhism  Search this

Late Heian (Fujiwara) period (897 - 1185)  Search this

Japan  Search this

Lotus Sutra  Search this

Japanese Art  Search this

Credit Line:

Gift of Sylvan Barnet and William Burto

Accession Number:

F2014.6.1a-d

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye31babd079-c144-4f73-a10b-39d311d56c58

EDAN-URL:

edanmdm:fsg_F2014.6.1a-d

Medium:

Bronze

Dimensions:

H x Diam (assembled bronze container): 29 × 10.6 cm (11 7/16 × 4 3/16 in)

Type:

Container

Origin:

Japan

Date:

12th century

Period:

Heian period

Topic:

Heian period (794 - 1185)  Search this

Japan  Search this

Japanese Art  Search this

Credit Line:

Gift of Sylvan Barnet and William Burto

Accession Number:

F2014.6.8a-j

Restrictions & Rights:

Usage conditions apply

Related Online Resources:

Google Cultural Institute

See more items in:

Freer Gallery of Art and Arthur M. Sackler Gallery Collection

On View:

Freer Gallery 07: Words of Wisdom: Buddhist Calligraphy from Japan

Data Source:

Freer Gallery of Art and Arthur M. Sackler Gallery

GUID:

http://n2t.net/ark:/65665/ye3bcbbf6a0-7a92-49a0-8bfc-804e7c0c5233

EDAN-URL:

edanmdm:fsg_F2014.6.8a-j

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2022-01-10T17:00:02.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_1Z9qNZdFM7A

Creator:

Smithsonian Education  Search this

Type:

YouTube Videos

Uploaded:

2016-04-12T21:13:53.000Z

YouTube Category:

Entertainment  Search this

Topic:

Education  Search this

See more by:

SmithsonianEducation

Data Source:

Smithsonian Education

YouTube Channel:

SmithsonianEducation

EDAN-URL:

edanmdm:yt_9vtoRPDzfjg

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2020-01-07T16:30:04.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_jV9dIhAn0Zg

Creator:

Smithsonian Channel  Search this

Type:

YouTube Videos

Uploaded:

2014-11-14T17:48:28.000Z

YouTube Category:

Entertainment  Search this

See more by:

smithsonianchannel

Data Source:

Smithsonian Channel

YouTube Channel:

smithsonianchannel

EDAN-URL:

edanmdm:yt_zGcdE5RllG0

Creator:

Smithsonian Center for Folklife and Cultural Heritage  Search this

Type:

YouTube Videos

Uploaded:

2020-04-14T22:50:06.000Z

YouTube Category:

People & Blogs  Search this

Topic:

Cultural property  Search this

See more by:

smithsonianfolklife

Data Source:

Smithsonian Center for Folklife and Cultural Heritage

YouTube Channel:

smithsonianfolklife

EDAN-URL:

edanmdm:yt_Q0VRK2L6V7A