Susan Conway Gallery (Washington, D.C.) Search this
Container:
Box 11, Folder 18
Type:
Archival materials
Date:
2000
1987
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
Susan Conway Gallery records, circa 1928, circa 1940s-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
Unfilmed: Authorization to publish, quote or reproduce requires written permission from Denys Wortman, Jr.
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.
Collection Citation:
Denys Wortman papers, 1887-1980. Archives of American Art, Smithsonian Institution.
RS-57 Thomas Nast Influential Political Cartoonist, Our Inventive Past
Container:
Box 9 of 40
Type:
Archival materials
Collection Restrictions:
Restrictions pertaining to the use of these materials may apply (based on contracts/copyright). Access restrictions may also apply if listening copies are not currently available. Listening copies can be made for a fee. Contact reference staff for details.
Collection Citation:
Smithsonian Institution Archives, Record Unit 296, Smithsonian Institution. Office of Telecommunications, Production Records
Susan Conway Gallery (Washington, D.C.) Search this
Extent:
11.5 Linear feet (Boxes 11-22, 26, OV 27)
0.001 Gigabytes (ER02)
Type:
Archival materials
Gigabytes
Date:
1976-2003
Scope and Contents:
This series documents the exhibitions, promotion and sales of artist and political cartoonist Patrick Oliphant though correspondence with clients, galleries, and museums regarding exhibitions and sales; inventories and lists; publicity portaits and slides of an installation; press clippings; sales invoices; shipping records; writings; and other miscellaneous records. Extensive documentation is found on the following traveling exhibitions: "Oliphant: The New World Order in Drawing and Sculpture," "Oliphant's Presidents: 25 Years of Caricatures," and "Seven Presidents." The bulk of Oliphant client files are found in Series 2.
Arrangement:
The series is arranged as 4 subseries.
Missing Title
4.1 General Files, 1978-2003
4.2 Exhibition and Loan Files, 1987-2003
4.3 Press Files, 1976-2003
4.4 Photographs, 1980s-2003
Collection Restrictions:
Use of original papers requires an appointment.
Collection 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.
Collection Citation:
Susan Conway Gallery records, circa 1928, circa 1940s-2003. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collection Care Preservation Fund.
The correspondence series consists of letters both to, and from Burnett, and also includes drafts of letters. Correspondence is primarily to and from other artists, galleries, curators, etc. and is related to Burnett's artwork. There is additional correspondence that relates to his teaching responsibilities, as well as some letters from family and friends, including cartoonist Art Wood. This series is arranged chronologically, with the undated correspondence at the end. Some fragments of letters were included with the undated correspondence. When possible, these fragments have been identified and filed appropriately. Remaining fragments are in the first (circa 1950s) undated folder.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
Authorization to publish, quote or reproduce requires written permission from Calvin Burnett or his heirs. Contact Reference Services for more information.
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.
Collection Citation:
Calvin Burnett papers, 1920-1979, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation.
Photographs are of Wortman, his family, and colleagues, including Harry Beckhoff, Alexander Brook, Clarence Brown, Glenn O. Coleman, Fred Cooper, Thomas Craven, Rudy Dirks, Steven Dohanos, Max and Eliena Eastman, Duncan Ferguson, Stefan Hirsch, Will B. Johnstone, Frank Kidder, Richard Lahey, Robert Laurent, Joseph Lilly, Esther Merrill, Wallace Morgan, Willard Mullin, Garrett and Florence Price, Otto Soglow, Marguerite Zorach, and Thomas Hart Benton, sports cartoonist Feg Murray (3) with film celebrities Joan Crawford, Marion Davies, and Jean Harlow, works of art, stage productions by members of the Society of American Illustrators and a gathering at the Grand Central Galleries of modern artists including Peggy Bacon, Dorothy Varian, Max Weber, and William Zorach.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Rights:
Unfilmed: Authorization to publish, quote or reproduce requires written permission from Denys Wortman, Jr.
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.
Collection Citation:
Denys Wortman papers, 1887-1980. Archives of American Art, Smithsonian Institution.
Wild Flower Preservation Society of America, Washington, D.C. Chapter: 'Nature Lovers' cartoon; used by Wildflower Preservation Society of America for educational purposes.
1 Photograph (lantern slide, hblack and white, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Reproductions
Place:
Wild Flower Preservation Society of America, Washington, D.C. Chapter (Washington, D.C.)
United States of America -- District of Columbia -- Washington
Date:
Oct 22, 1922
General:
Text reads: Will you help save the wild flowers by not picking them and help protect the trees by not breaking branches. Keep them for next year and every year. Garden Club of America
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Sponsor:
A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.
The papers of textile designer Ruth Reeves measure 1.1 linear feet and date from circa 1880 to 1967. Found are biographical materials, scattered correspondence, writings on textile design, printed material, artwork, photographs, and scrapbooks.
Scope and Contents:
The papers of textile designer Ruth Reeves measure 1.1 linear feet and date from circa 1880 to 1967. Found are biographical material, scattered correspondence, writings on textile design, printed material, artwork, photographs, and scrapbooks.
Biographical records include biographical sketches, travel papers, and divorce records. Correspondence is scattered but includes letters from Ruth Reeves to her daughter Judith. Most of Reeves' general correspondence is from family and friends. A teaching file for a course on textile design at The Cooper Union for the Advancement of Science and Art contains notes, lecture drafts, and sketches. Writings by Ruth Reeves are on textile design and may include drafts with handwritten notes. Artworks include painted sketches and prints by Ruth Reeves. Photographs include portraits of Reeves, snapshots of her family and travel photos. Of note is a portrait of cartoonist Art Young by Berenice Abbott.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.
Series 1: Ruth Reeves Papers, circa 1880-1967 (Box 1-2; 1.3 linear feet)
Biographical / Historical:
Ruth Reeves (1892-1966) was a textile designer, educator, and painter active in New York City, New York and India. She is known for having designed rugs for Radio City Music Hall.
Reeves' first exhibition was with The American Designers' Gallery where she showed textiles. She experimented using screen print and vat dye techniques to create household textiles. In addition to her design career, Reeves served as national supervisor for the Index of American Design under the Federal Art Project and taught at the Cooper Union. In 1956, she accepted a Fulbright grant and moved to India to study Indian textile techniques.
Ruth Reeves married Donald Robert Baker, with whom she had three daughters. Ruth Reeves died in 1966 in New Delhi, India.
Provenance:
The Ruth Reeves papers were donated by her daughter, Judith Baker Katzman in 1971 and 1972.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Educators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Textile designers -- New York (State) -- New York Search this
Biographical materials include address books, biographical sketches and resumes, a death notice and will, and passports for Ruth Reeves and Donald Robert Baker. Also found is a divorce record from 1922 of Reeves' first marriage to Leland Olds. Correspondence is scattered and is largely unsigned or with nicknames and initials. A letter from the Girl Scouts of America to Reeves regards a manuscript written by Reeves on textiles. Other letters are from Reeves to her daughter Judith and condolence letters written to her family.
Writings by Ruth Reeves largely concern textiles, designs, and inspiration. An excerpt of a writing entitled "On Designing Textiles" (1935) appeared in Art Education Today. A teaching file contains lecture notes, outlines, and sketches for a course taught at the Cooper Union in the 1940s. Artwork contains painted sketches, three prints, and an ink sketch by Ruth Reeves. Photographs are of Reeves, family, friends, vacation, works of art, and India. Tourist albums are mass produced and of sights in Europe. Of note is a portrait of cartoonist Art Young by Berenice Abbott. Two unbound mixed media scrapbooks serve as a portfolio of Reeves' career as a designer, educator, and writer.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Ruth Reeves papers, circa 1880-1967. Archives of American Art, Smithsonian Institution.
Compiled by Frederick Duncan, this dismantled scrapbook contains eighty pen and ink letters in the form of captioned cartoons by the Chicago painter Marshall D. Smith to Duncan. The art works illustrate the events of their friendship, Duncan's growing family, boats, and the city of Chicago. Included is a typescript by Duncan describing his friendship with Smith and the context of specific cartoons. Also found are an additonal seven cartoons and one Christmas card that were not included in the scrapbook. Photographs depict paintings by Smith owned by Duncan.
Scope and Contents:
Compiled by Frederick Duncan, this dismantled scrapbook contains eighty pen and ink letters in the form of captioned cartoons by the Chicago painter Marshall D. Smith to Duncan. The art works illustrate the events of their friendship, Duncan's growing family, boats, and the city of Chicago. Included is a typescript by Duncan describing his friendship with Smith and the context of specific cartoons. Also found are an additonal seven cartoons and one Christmas card that were not included in the scrapbook. Photographs depict paintings by Smith owned by Duncan.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Marshall D. Smith (1874-1973) was a Chicago painter and friend of Frederick B. Duncan.
Provenance:
Donated 1996 by John O. Duncan, son of Frederick B. Duncan.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Kemble, E. W. (Edward Windsor), 1861-1933 Search this
Extent:
3 Items
Type:
Collection descriptions
Archival materials
Date:
1888 [and undated]
Scope and Contents:
Two drawings by Kemble, 1888 and undated, with notations in an unidentified hand, and one drawing of a World War I scene by an unidentified artist [Eaby?]. The drawings were done for Century magazine.
Biographical / Historical:
Illustrator, cartoonist and writer.
Provenance:
Unknown provenance.
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.
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.
The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.
Missing Title
Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)
Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)
Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)
Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)
In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.
Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.
Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.
In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.
In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.
The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.
During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.
In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.
In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.
Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.
Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.
Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Etchers -- New York (State) -- New York Search this
Watercolorists -- New York (State) -- New York Search this
Lithographers -- New York (State) -- New York Search this
Reel 3, Side 1: Brenda Kuhn discusses Armory Show records and Walt Kuhn letters from 1936 to 1941. Selected subjects include Brenda's decision to donate papers to AAA; recollections of Fort Lee, NJ, 1909-1919; Ogunquit, ME house; 18th St. studio; Kuhn's animal art; circumstances of Philip Guston taking over WK studio in 1957; La Salle Spier; Spier home in Chevy Chase, MD; Kuhn's searches for landscape subjects; Arthur B. Davies second family as David A. Owen, and his daughter, Ronven Owen; Kuhn's cooking talents and his parents' Brooklyn restaurant, the International House; stage celebrities.
Reel 3, Side 2: Brenda Kuhn discusses Walt Kuhn letters from 1941 and 1944. Selected subjects include Kuhn's automobiles; painting methods; Frank di Gioia; Brenda's epilepsy; Vera Kuhn.
Reel 4, Side 1: Brenda discusses photographs and Walt Kuhn letters from 1936 to 1944. Selected subjects include Walt Kuhn's transition from cartoonist to fine artist; Kuhn family photographs; community of artists in Fort Lee, NJ, including Jules Pascin, Pop Hart, Paul Bransom, Rudy Dirks; meeting of Walt and Vera Kuhn; Penguin Club Kuhn's Maine landscape paintings; reading habits; Cape Neddick, ME; Perkins Cove, ME and the Laurent family; Alfred Frankfurter; onset of Kuhn's mental illness.
Reel 4, Side 2: Brenda Kuhn discusses Walt Kuhn publication Fifty Paintings, and letters from 1920 and 1938 to 1947. Selected subjects include watching her father paint; Kuhn's hobby of carving toys for children; Kuhn's experiences at Lake Buel, MA; Kuhn's guitar-playing; Brenda's plans for a museum in Cape Neddick; Kuhn's smoking habits; Edna St. Vincent de Millay purchase of "Mario"; Kuhn's illness and idea for "State of Maine Follies"; Vera's record-keeping habits; Kuhn's teaching, especially John Laurent; Frank di Gioia.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection 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.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
Items in this series relate to the two artists' clubs in which Kuhn was heavily involved in New York. The annual costume balls of both clubs are documented in this series, as well as exhibitions and other events put on by the Penguin Club.
Artists's balls are documented in photographs, scripts, and printed materials. Photographs depict party-goers and performers in costume, including Kuhn, John Quinn, Frederick James Gregg, William Bahr, John Oakman, Charles Ferrand, Rudy Dirks, Jack Johnston, Gus Mager, and Wood Gaylor, among others who are unidentified. Several photographs were taken by New York photographer Jesse Tarbox Beals. Scripts or scenarios written by Walt Kuhn and Frederic Paul Lopère are also filed here. Kit Kat Ball Printed Materials include invitations, posters, and glossy, heavily-illustrated programs.
Most of the Penguin Club material in this series was removed from a scrapbook during previous processing and is now arranged chronologically as a group. In addition to artists' balls, items from the scrapbook document exhibitions, a musical performance, and social events such as stag dinners, strawberry festivals, and summer outings. Types of materials include invitations, tickets, flyers, announcements, posters, exhibition catalogs, programs, and Penguin Club stationary. Two posters for Penguin Balls are by the cartoonist Alfred J. Frueh.
Other Penguin Club materials include marked exhibition catalogs from 1917, with Kuhn's estimated and actual sales prices, a large poster designed by Kuhn for the 1917 Penguin Ball, and a 1923 flyer for a dinner honoring Horace Brodsky. An undated historical essay entitled "The Penguin" by George Spelvin, which may have been added to the collection at a later date, is accompanied by two photographs showing posters made by the Penguin Club for the Red Cross in 1918.
Additional materials related to the Penguin Club and Kit Kat Club can be found in the Walt Kuhn Family Papers (Series 4).
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection 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.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
This series contains original drawings, sketches, and prints created by Walt Kuhn. See also Series 4.11: Photographs and Scrapbooks, for addtional artwork in scrapbooks.
Cartoons include bird cartoons published in Life and in the book A Little Bird Told Me (1908, see Printed Materials), personal cartoons by Vera and Walt Kuhn depicting themselves, and one sketch of the Kuhns attributed to the cartoonist Oscar Edward Cesare. Two sketchbooks from Kuhn's trips to the Western United States are found, as well as Kuhn family Christmas cards, with Walt Kuhn's linotype prints of western scenes. Kuhn's ongoing interest in the circus is seen in his notes, sketches, and ink drawings of clown acts from 1941, accompanied by a short essay by Kuhn entitled "Plan to Revitalize the Clown and Fun Problem of the Circus." Folders containing miscellaneous artwork include rough sketches and designs, as well as finished drawings and cartoons, mostly undated. Also found are three of Kuhn's copper printing plates, entitled "Man in Leotard," "Woman in Slip and Feathered Hat," and "Woman in Slip and Large Hat."
Illustrated letters, sketches, and cartoons are scattered throughout the collection. See individual series descriptions for more details. Copies of artwork in this series are marked as such and filed alongside originals. Reproductions of additional artwork are filed in Provenance Files and Photographs and Scrapbooks.
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection 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.
Collection Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
The Hananiah Harari papers measure 12.8 linear feet and date from circa 1939-2000 and undated. Included is biographical information, correspondence, writings, subject files, exhibition and loan files, personal business records, photographs, works of art, audio visual material, and printed material relating to Harari's practice that ranged from fine art to commercial photography and illustration.
Biographical / Historical:
Hananiah Harari (1912-2000) was a painter, cartoonist, muralist, commercial artist, and educator in New York.
Provenance:
A small portion (0.4 linear feet) donated in 1983 by Hananiah Harari. A majority of the collection was donated in 2020 by Elena Bauer, Harari's daughter.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
