Folders 1-2 Modern American Paintings (1932-58). USIA G-1046. 1959-60. Organized by the City Art Museum of St. Louis, MO. Circulated Oct. 1959-June 1960(?) in Rome, Gotaplatsen, elsewhere? Catalogs and catalog lists and drafts; artist biographies; open...
Container:
Box 61 of 287
Type:
Archival materials
Collection Citation:
Smithsonian Institution Archives, Record Unit 321, National Museum of American Art, Office of Program Support, Records
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Scope and Contents note:
The records of the Catherine Viviano Gallery measure 11.6 linear feet and date from 1930-1990, with the bulk of the materials dating from 1949-1978. Established in New York City in 1949, the gallery specialized in contemporary painting and sculpture primarily by American and European artists. The collection consists of artists' files; correspondence with artists, collectors, dealers, museum directors, curators, and publishers; business records; printed material; and photographs of artwork and artists. Also included are records relating to Catherine Viviano's activities as a private dealer and consultant after she closed the gallery in 1970.
Artists' files include biographical material; artists' statements; correspondence; sales and expense reports; lists and notes; guest lists; writings by others; receipts, invoices, and statements; printed material, including press releases, exhibition announcements, brochures, catalogues, clippings; and photographs of artwork and artists. Included are extensive files on Afro Basaldella, Renato Birolli, Robert Broderson, Anselmo Franesconi, Joseph Glasco, Manabu Mabe, César Manrique, Luciano Minguzzi, Ennio Morlotti, Bernard Perlin, Daniel Rice, and Bernard Rosenthal. There are also files on Jan Cox, Kay Sage, and Kazuo Wakabayashi.
Correspondence comprises the largest series in the collection and consists of general correspondence; correspondence with museums, galleries, and art-related institutions in the United States; and correspondence with museums, galleries, and art-related institutions abroad. Letters focus on routine business matters, e.g., appraisals and sales, acquisitions, and organizing exhibitions at the Catherine Viviano Gallery and other venues.
General correspondence includes letters between Catherine Viviano and artists and their family members. Among the correspondents are: Mary Callery, Bernard Chaet, Piero and Virginia Dorazio, Jean Dubuffet, Dallas Ernst, Karl Fortress, Alberto Giacometti, Henry Sage Goodwin, Morris Graves, José Guerrero, Earle Ludgin, Joan Miro, Alfonso Ossorio, Dorothea Tanning, Stuyvesant Van Veen, Adja Yunkers and his wife, Dore Ashton, among others. Also found is Viviano's correspondence with clients, many of whom were prominent collectors, e.g., Richard Brown Baker, Carl and Joan Fisher, Lawrence and Barbara Fleischman, Joseph Hirschhorn, Marc Moyens, Vincent Price, Joseph Pulitzer, Jr., Nelson Rockefeller, Stanley Seeger, and Frederick and Dorothy Zimmerman. Of interest, are letters from Elizabeth Bishop inquiring about the purchase of a work of art from the gallery. Included are letters from art historians, museum directors, curators, representatives at other art-related institutions, and publishers including Walter Bareiss, Walter Barker, Dominque De Menil, Valentine Dudensing, William Eisendrath, S. Lane Faison, Emily Genauer, Bertram Goodhue, Erhard and Barbara Göpel, James Laughlin, Porter McCray, Abram Lerner, Doris Meltzer, Stephen Robson Miller, John Bernard Myers, Perry Rathbone, Belle Krasne Ribicoff, Meyer Shapiro, George Stout, and Curt Valentin.
Correspondence with museums, galleries, and art-related institutions in the United States contains letters between Viviano and museum directors, curators, dealers, artists, and collectors pertaining to loans, shipping and delivery of artwork, appraisals and sales, and acquisitions. Files include substantive correspondence with the American Academy of Arts and Letters, American Federation of the Arts, Art Institute of Chicago, Arts Club of Chicago, the Barnes Foundation, Bristol Art Museum, Brooklyn Museum, Bundy Art Gallery, Carnegie Institute, City Art Museum of St. Louis, Cleveland Museum of Art, Colorado Springs Fine Arts Center, Dallas Museum of Fine Arts, Denver Art Museum, Des Moines Art Center, Detroit Institute of Arts, Fogg Art Museum, Harvard University, Hirshhorn Museum and Sculpture Garden, Institute of Contemporary Art, Los Angeles County Art Museum, Massachusetts Institute of Technology, Metropolitan Museum of Art, Museum of Fine Arts, Boston, Museum of Fine Arts of Houston, Museum of Modern Art, Pennsylvania Academy of the Fine Arts, Philadelphia Art Alliance, Santa Barbara Museum of Art, University of Nebraska Art Galleries, University of Virginia, Mary Washington College, Wadsworth Atheneum, Walker Art Center, William Rockhill Nelson Gallery of Art, Atkins Museum of the Fine Arts, World House Gallery, and Yale University Art Library.
Correspondence with museums, galleries, and art-related institutions abroad primarily concerns the lending of artwork for exhibitions, acquisition and sales; also included are letters requesting biographical information on artists. Letters between Catherine Viviano and representatives of Max Beckmann Gesellschaft Archiv and Galerie Gunther Franke contain provenance-related information on Beckmann's work.
Business records document the routine business operations of the gallery. Printed material includes an incomplete run of Catherine Viviano Gallery exhibition catalogues; invitations and announcements from other galleries and institutions; and miscellaneous printed material.
Photographs include three images of miscellaneous artwork used for art reference.
Arrangement note:
Records are generally arranged by material type and in chronological order thereafter. Artists' files and correspondence files are arranged in alphabetical order and materials within the folders are arranged chronologically
The collection is arranged as 5 series:
Missing Title
Series 1: Artists' Files, 1945-1986 (Boxes 1-3; 3.5 linear feet)
Series 2: Correspondence, 1939-1985 (Boxes 3-6; 5.5 linear feet)
Series 3: Business Records, 1949-1972 (Boxes 10-11; 1.0 linear feet)
Series 4: Printed Material, 1930-1990 (Boxes 11-13; 1.6 linear feet)
Series 5: Photographs (1948-1954), undated (Box 14; 1 folder)
Biographical/Historical note:
Catherine Viviano (1889-1992) opened her gallery in 1949 on 42 East 57th Street in New York City. Specializing in contemporary American paintings and sculpture, the gallery featured younger American and European artists, e.g., Robert Broderson, Carlyle Brown, Jan Cox, Joseph Glasco, Peter Lanyon, Manabu Mabe, César Manrique, Bernard Perlin, Joseph Rollo, Bernard Rosenthal, and Kay Sage, among others. The gallery was also notable for introducing the work of Italian artists, who had been cut off from the American art scene during World War II, including Afro Basaldella and his brother Mirko Basaldella, Renato Birolli, Leonardo Cremonini, and Luciano Minguzzi.
Born in Italy in 1899 and raised in Chicago, Catherine Viviano came to New York in the early 1930's to work at the Pierre Matisse Gallery, where she remained for sixteen years before founding the Catherine Viviano Gallery.
In 1970, Catherine Viviano closed the gallery, though she continued to work from her home as an art dealer and consultant. She died of a stroke at the age of ninety-two in 1992.
Related Archival Materials note:
Among the other resources relating to Catherine Viviano Gallery in the Archives of American Art are the Kay Sage papers, 1925-circa 1985, bulk 1950-1965.
Provenance:
The Catherine Viviano Gallery records were donated in 2003 on behalf of Margaret Viviano, Catherine Viviano's sister, by her grandnephew, Peter C. Salerno, who had Power of Attorney for Margaret Viviano.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Einhorn, Nathan (The Library of Congress, Exchange and Gift Division)
Eisendrath, William (City Art Museum of St. Louis)
Ely, Geist, C.
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:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
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:
Catherine Viviano Gallery records, 1930-1990, bulk 1949-1978. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
The collection is open for research. Patrons must use microfilm copy.
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:
Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution
Oceanic culture. A survey of Pacific Island culture, illustrative of a special exhibition of Oceanic art, the City art museum of Saint Louis, November 10 to December 10, 1945
This series contains the gallery's general correspondence with artists, clients, curators, galleries, and art organizations and institutions. Outgoing letters are generally copies on highly-acidic fragile paper and are written by a combination of the gallery's proprietors and employees including William Macbeth, Robert Macbeth, Robert G. McIntyre, Hazel Lewis, Henry Miller, and Marguerite Onderdonk. The correspondence is fairly complete although there is very little outgoing correspondence before 1913 and very little correspondence, both outgoing and incoming, between 1928 and 1931 and 1933 and 1936. Although the gallery closed in 1953 correspondence in this series extends to 1968 documenting Robert G. McIntyre's continued activity as an art dealer operating from his home. Some records, generally from 1915, 1916 and 1923, are damaged by mold. For preservation reasons these have been placed in a separate box at the end of the collection and appear in the container listing at the end of 1.1: Correspondence.
Of particular interest is the substantial body of correspondence with artists. From the late 19th to the early 20th-century period there is significant correspondence with artists such as Cecilia Beaux, Emil Carlsen, John F. Carlson, Charlotte Buell Coman, Arthur B. Davies, Charles Harold Davis, Charles W. Hawthorne, Charles Hazeltine, Robert Henri, Winslow Homer, Jonas Lie, J. Francis Murphy, Henry Rankin Poore, Chaucey F. Ryder, William Sartain and Abbot Handerson Thayer. From the early to mid-20th-century period correspondents include Jay Connaway, Carl Gaertner, Rockwell Kent, James Lechay, Herman Maril, Ivan G. Olinsky, Ogden M. Pleissner, Constance Richardson and Andrew Wyeth.
There are letters from Arthur B. Davies in which he writes of his travels in Europe during the 1890s, letters from Robert Henri from Ireland in the 1920s, and a letter from John Sloan to William Macbeth (one of only two in the collection) dated March 4, 1908, thanking Macbeth in the name of the "noble eight" for "all of the innumerable courtesies and kindnesses you have shown us in the long to be remembered exhibition of Feb. 3-18 1908." There are lengthy, detailed epistles from William Sartain written prior to, and during, the outbreak of World War I in Paris, and eighteen letters from Winslow Homer (although the two dated 1861 and 1876 respectively are copies) including an illustrated letter, an undated price list and notes on Homer paintings. There are also details regarding the settling of the Homer estate, which designated the Macbeth Gallery as sole selling agents of Homer's pictures in 1937, found in correspondence with members of the Homer family.
Although there is no correspondence with Homer D. Martin in the collection there are letters from his widow, Elizabeth, which reveal something of the painter's relationship with the gallery and chart the rise in popularity of Martin's work after his death. Elizabeth Martin's letters also discuss the appreciation of her husband written by her after his death and published by William Macbeth.
Correspondence with Andrew Wyeth reveals Wyeth's original agreement with the Macbeth Gallery and charts the launching of his career and apparently effortless rise to fame. Wyeth's correspondence includes illustrated letters and the original manuscript of the foreword to the catalog for his first exhibition at Macbeth Gallery, written by his father, N. C. Wyeth.
This series also documents the gallery's hand in the development of some of the country's major public and private art collections including those established by the Addison Gallery of American Art, the Albright Art Gallery, Butler Art Institute, Carnegie Institute, the City Art Museum of St. Louis, Dallas Art Association, the Pennsylvania Academy of Fine Arts, and the Rhode Island School of Design.
Obviously, letters from the gallery's proprietors are found throughout the series, but there are also several named files for William Macbeth, Robert Macbeth and Robert G. McIntyre. William Macbeth's correspondence includes a copy of his opening announcement of 1892. A pencil sketch of two cows on the back of the announcement reminds us of his other love - the Macbeth Farm in Suffolk County, New York. Also found here are some letters of recommendation that William acquired prior to his emigrating to the United States from Ireland, and several letters regarding the sale of an Arthur B. Davies picture in which he refers to the need to let Davies know about the sale of the picture as quickly as possible. "You would understand why," writes Macbeth to James Quinlan on 1 February 1898, "if you knew this nervous impatient artist as well as I do."
Robert Macbeth's correspondence deals primarily with gallery business up to 1920 but from that point on relates primarily to personal and family business. His correspondence includes one folder of twenty-seven letters from artists written in response to an invitation to a dinner honoring William Macbeth in 1909. Most are addressed to Augustus Vincent Tack and include letters from Chester Beach, Charles H. Davis, Robert Henri, John La Farge, Jerome Myers, Chauncey F. Ryder and Carleton Wiggins. There is also a copy of a poem written by Albert Pinkham Ryder.
Correspondence with Jessie L. Macbeth and Phoebe K. Maccbeth deals with Robert Macbeth's estate and includes correspondence between Phoebe and Robert G. McIntyre discussing the gallery's finanical difficulties during the 1940s.
Robert G. McIntyre's correspondence generally relates directly to gallery business. Three of his letters (found in the files of correspondents to which the letters were addressed) are of particular note as they display his lucid and engaging style and reveal details of his friendships with some of the gallery's most important artists: a 1948 letter to Joseph J. Kwiat describes his memories of "The Eight" and recounts in particular his impressions of William J. Glackens, Robert Henri and George Luks; a 1956 letter to Bennard B. Perlman recalls "Tuesday evenings" at Robert Henri's studio; and a 1945 letter to Lloyd Goodrich of the Whitney Museum describes watching Childe Hassam paint and date a picture as if he were "writing a letter." "He was so emphatic that this was the proper procedure" writes McIntyre, "that one may take it for granted that a date on a Hassam is the date it was begun, not finished."
Records relating to McIntyre's research for, and writing of, his book on Martin Johnson Heade, published in 1948, can be found in his correspondence with Maxim Karolik.
Although it is not always possible to determine which gallery member is responsible for an outgoing letter as they are generally unsigned copies, each of the proprietors appeared to enjoy letter writing and discussing their views on art with gallery clients. A good example of this can be found in letters to William Winter Drew in January and May of 1925 which provide a lengthy and detailed discussion of whom the letter writer (probably Robert Macbeth) believes should be included in a representative collection of American art.
The dating and arrangement of undated incoming letters, particularly those written before 1913 which do not have an accompanying response from the gallery, is often based on pencil notations made by Robert G. McIntyre which, while assumed to be reliable, are not necessarily accurate.
While the series is primarily comprised of folders arranged alphabetically by name of correspondent, there are a few folders arranged by subject including several which relate to exhibitions at the gallery. These are interfiled alphabetically by folder title with the exhibition files, for example, being filed under "E."
Although the gallery's financial records are generally found in Series 2: Financial and Shipping records, Series 1: Correspondence does include substantial financial information in the form of correspondence with banks, insurance agents and accountants. Correspondence with Frederic B. Thomason, Inc., for example, consists of over two linear feet of records containing insurance information from 1895 to 1952.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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:
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.
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:
Carlen Galleries, Inc., records, 1775-1997, bulk 1940-1986. Archives of American Art, Smithsonian Institution.
The bulk of the papers consist of Nagel's files on his various positions and projects (ca. 3.3 ft), containing a variety of materials, including correspondence, writings, notes, art works, clippings, photographs and printed material. Also included are files pertaining to Nagel's father, lawyer and statesman Charles Nagel, and to his mother, Anne; and papers of and relating to Nagel's friend and associate, architect Victor Proetz (0.6 ft).
Nagel's files on positions and projects are arranged chronologically, and relate to: design projects while a student at Yale University, ca. 1926-1928; his struggle with career choices (mostly typescripts of letters to his father), ca. 1927-1931; his appointment to the Yale University Gallery of Fine Arts; commissions during his partnership in Nagel & Dunn (includes photographs of Fred Dunn, St. Mark's Episcopal Church, and other designs); organizing the exhibit "Italy at Work: Her Renaissance in Design Today, 1950-1951," his publication American Furniture, 1650-1850, and other activities while director of the Brooklyn Museum, 1946-1955; his position as juror and secretary for the Jefferson National Expansion Memorial Competition and working with other jurors Fiske Kimball and William Wurster, and design winner, Eero Saarinen; the Independence National Historical Park Project, Philadelphia, Pa.; positions at the City Art Museum, St. Louis, Mo.; establishment of the National Portrait Gallery (includes photographs of staff, the building, exhibitions, and opening celebrations, 1964-1969, notably Chief Justice Earl Warren, Smithsonian Secretary S. Dillon Ripley, and artist Peter Hurd); his emigration to Cuernavaca, Morelos, Mex.; and alterations and additions to St. Michael and All Angels Church in Cuernavaca, 1983. Included in several files are photographs of Nagel, his residences, and colleagues, and architectural drawings.
Files on his father contain honorary degrees and awards, photographs and printed material relating to the naming of a post office in his honor, St. Louis, Mo., and other events honoring him.
The papers of Victor Proetz, ca. 1928-1966 (ca. 0.6 ft), include obituaries; correspondence; a Last Will and Testament; a list of Proetz's commissions, 1934-1943; writings by Proetz and others; Proetz's "The Astonishment of Words," 1971, posthumously published; a scrapbook; exhibition announcements and catalogs; printed material; and photographs of Proetz and his designs for interiors and furniture.
Biographical / Historical:
Museum director; architect. Nagel was born in St. Louis, Mo. He attended Yale University, earning a B.A. in 1923, a B.A. in architecture in 1926 and M.F.A. in architecture in 1928. Upon graduation, he was employed at the firms of Jamieson & Spearl, and Hall & Proetz, St. Louis, and with Coolidge, Shepley, Bulfinch, Abbott in Boston.
He taught art history at Yale, and served as curator of Decorative Arts at Yale's Gallery of Fine Arts, 1930-1936, returning to architecture with the firm Nagel & Dunn, St. Louis, from 1936-1942. His positions as museum director include the City Art Museum in St. Louis, 1942-1946 (acting) and 1955-1964; the Brooklyn Museum, 1946-1955; and the National Portrait Gallery, 1964-1969.
Provenance:
Donated 1992 and 1994 by Lucie O. Nagel, widow of Charles Nagel. According to Mrs. Nagel, the material relating to Victor Proetz was given to Nagel by Proetz, who was a close friend and associate, and by the Proetz estate following his death in 1966.
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.
Occupation:
Museum directors -- Missouri -- St. Louis Search this
Museum directors -- New York (State) -- Brooklyn Search this
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
