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Homer Dodge Martin, St. Paul, Minn. letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Martin, Homer Dodge, 1836-1897  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1895 Dec. 12
Record number:
(DSI-AAA)10033
See more items in:
Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_10033

Scrapbook of materials relating to Thomas Benedict Clarke

Creator:
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Subject:
Lambs (Theatrical club : New York, N.Y.)  Search this
Type:
Albums
Date:
between 1894 and 1898
Record number:
(DSI-AAA)12991
See more items in:
Thomas Benedict Clarke scrapbooks, 1880-1936, bulk 1883-1920
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_12991

Winslow Homer letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Homer, Winslow, 1836-1910  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Subject:
Homer, Winslow  Search this
Type:
Correspondence
Date:
1901 Jan. 4
Topic:
Illustrated letters  Search this
Self-portraits  Search this
Record number:
(DSI-AAA)13719
See more items in:
Winslow Homer collection, 1863
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_13719
Online Media:

Winslow Homer to Thomas B. (Thomas Benedict) Clarke

Creator:
Homer, Winslow, 1836-1910  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Place:
Santiago, Cuba
Date:
1901 December 30
Topic:
Boat travel  Search this
Sightseeing  Search this
Record number:
(DSI-AAA)5701
See more items in:
Winslow Homer collection, 1863
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_5701
Online Media:

Winslow Homer letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Homer, Winslow, 1836-1910  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Subject:
Homer, Winslow  Search this
Type:
Correspondence
Date:
1900 December 11
Topic:
Exhibitions  Search this
Record number:
(DSI-AAA)6094
See more items in:
Winslow Homer collection, 1863
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6094

Winslow Homer to Thomas B. (Thomas Benedict) Clarke

Creator:
Homer, Winslow, 1836-1910  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1900 December 31
Record number:
(DSI-AAA)6095
See more items in:
Winslow Homer collection, 1863
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6095

Frederick W. Kost, Roshanak, R.I. letter to Thomas B. (Thomas Benedict) Clarke, New York, N.Y.

Creator:
Kost, Frederick W., 1861-1923  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1893 October 23
Record number:
(DSI-AAA)6917
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6917
Online Media:

Francis Lathrop letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Lathrop, Francis, 1849-1909  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1897 December 11
Record number:
(DSI-AAA)6923
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6923

Louis Moeller, New York, N.Y. letter to Thomas B. (Thomas Benedict) Clarke, New York, N.Y.

Creator:
Moeller, Louis, 1855-1930  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1891 December 31
Record number:
(DSI-AAA)6947
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6947

John Francis Murphy, New York, N.Y. letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Murphy, John Francis, 1853-1921  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1918 December 03
Record number:
(DSI-AAA)6953
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6953

T. Addison (Thomas Addison) Richards, New York, N.Y. letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Richards, T. Addison (Thomas Addison), 1820-1900  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1891 April 10
Record number:
(DSI-AAA)6976
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_6976

Harry W. (Harry Willson) Watrous, New York, N.Y. letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Watrous, Harry W. (Harry Willson), 1857-1940  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1887 June 25
Record number:
(DSI-AAA)7048
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7048
Online Media:

John F. (John Ferguson) Weir, New Haven, Conn. letter to Thomas B. (Thomas Benedict) Clarke

Creator:
Weir, John F. (John Ferguson), 1841-1926  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1893 March 01
Record number:
(DSI-AAA)7050
See more items in:
Charles Henry Hart autograph collection, 1731-1918
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7050
Online Media:

Eastman Johnson, New York, N.Y. letter to Thomas B. (Thomas Benedict) Clarke, New York, N.Y.

Creator:
Johnson, Eastman, 1824-1906  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Type:
Correspondence
Date:
1891 June 3
Topic:
Art commissions  Search this
Art patrons  Search this
Painting  Search this
Record number:
(DSI-AAA)7713
See more items in:
Eastman Johnson letters, 1851-1899
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_7713

Albert Pinkham Ryder letter to Thomas B. Clarke

Creator:
Ryder, Albert Pinkham, 1847-1917  Search this
Names:
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Extent:
1 Item ((on 2 frames of microfilm))
Type:
Collection descriptions
Archival materials
Date:
[1885 April 9?]
Scope and Contents:
A letter from Ryder to collector Thomas B. Clarke thanking him for his payment for "The Temple of the Mind," and telling Clarke of his excitement about his painting "Jonah and the Whale" which he completed probably in 1885. He writes "I think you will be delighted with it."
Biographical / Historical:
Landscape painter and poet; New York City.
Provenance:
Purchased from Charles Hamilton Autographs, May 7, 1956.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Painters  Search this
Topic:
Art -- Collectors and collecting  Search this
Identifier:
AAA.rydealbe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rydealbe

Winslow Homer and Homer family papers from the Bowdoin College Museum of Art

Creator:
Homer, Winslow, 1836-1910  Search this
Names:
Beatty, John W. (John Wesley), 1851-1924  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Homer, Arthur Benson, b. 1841  Search this
Homer, Charles S., b. 1809  Search this
Homer, Charles S., b. 1834  Search this
Palmer, Potter, 1826-1902  Search this
Extent:
2 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1846-1954
Scope and Contents:
Biographical documents; correspondence; notebooks; artworks; scrapbooks; printed material; and photographs; ca. 600 items, total.
Awards and certificates; an address book kept by Homer's brother, Arthur; a biographical sketch of Homer by his nephew; correspondence, including letters, some illustrated, from Homer to his family and others, describing daily activities, his health, and his work; letters from Potter Palmer, Thomas B. Clarke, and John Beatty, and family correspondence which mentions Homer; 2 notebooks, containing notes and sketches; sketches and cartoons; 18 watercolors of plants, birds, and insects by Homer's mother; scrapbooks, containing photos of Homer, his studio, reproductions, clippings, a script and related material comparing Whistler and Homer for a radio program; catalogs; an album containing 60 annotated reproductions of artwork; printed material; Homer's Civil War pass; a contract between C. Klackner and Homer regarding the sale of etchings; receipts for sales; an inventory of the collection of Mrs. Charles S. Homer, Jr.; photos of Homer family members, Homer, his friends, and their surroundings in Prout's Neck, Me.; and miscellany.
Biographical / Historical:
Painter, illustrator; New York, N.Y. and Prouts Neck, Me. Illustrator for Harper's Weekly; artist-correspondent during Civil War; moved to Prouts Neck, Me., 1884.
Provenance:
Lent for microfilming 1983 by Bowdoin College Museum of Art. The Museum received the material from Homer's descendants in 1964.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from Director, Bowdoin College Museum of Art. 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.
Occupation:
Painters -- Maine -- Prout's Neck  Search this
Topic:
Painting, American  Search this
Identifier:
AAA.homewins
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-homewins

Thomas B. Clarke letters from or about Homer Dodge Martin

Creator:
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Names:
Macbeth, William, 1851-1917  Search this
Martin, Homer Dodge, 1836-1897  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1893-1897
Summary:
The Thomas B. Clarke letters from or about Homer Dodge Martin measure 0.2 linear feet and date from 1893-1897. Twenty-two letters from Martin to art collector and patron Thomas B. Clarke, document Martin's work, his financial struggles, and his physical and mental condition in the last 5 years of his life. Additional letters to and from others further illuminate Martin's relationship with Clarke and provide insight into his financial affairs and the increasingly favorable market for the painter's work just prior to and following his death in 1897.
Scope and Content Note:
This collection measures 0.2 linear feet, including 22 letters from Homer Martin to art patron Thomas Clarke, and dates from 1893-1897. Since Martin kept no diaires or sales ledgers himself, the letters are invaluable in understanding his painting, financial struggles, and his physical and mental condition in the last 5 years of his life. Additional letters from Martin's son, Ralph, his wife, Elizabeth, and gallery owner William Macbeth, and a letter from Martin to his friend Montgomery Schuyler, further illuminate Clarke's activities as a dealer and patron of Martin's work, and provide insight into Martin's financial affairs and the increasingly favorable market for the painter's work just prior to and following his death in 1897.
Arrangement:
The collection is arranged as 1 series:

Series 1: Thomas B. Clarke Letters From or About Homer Dodge Martin, 1893-1897 (Box 1; 9 folders)
Biographical Note:
Thomas Benedict Clarke (1848-1931) was a New York prosperous merchant who began collecting American art in the 1870s. Over the course of the next 20 years he actively traded, loaned, and sold artwork through dealers in New York City, outlets in Worcester, Cincinnati and St. Louis, and with artists. He also shared his collection through public and private exhibitions in New York and elsewhere. He earned praise from the critics for being the foremost patron of American painters during the late 1800s and was praised by many painters for his attention to American artists at a time when they considered themselves neglected or ignored.

Hudson River School painter Homer Dodge Martin (1836-1897) was one of the artists for whom Clarke acted as patron. Martin studied briefly with James Hart and spent his summers during the 1860s sketching in the Adirondacks, the Catskills and the White Mountains and then painted landscapes from the sketches he made at his studio in New York City's Tenth Street Studio Building.

In 1876 he took his first trip to Europe and from 1882-1886 lived in Normandy, France. There he was influenced both by the Barbizon school of painting and the Impressionists and his painting took on darker, more melancholy tones.

By 1887 Martin had returned to New York and in 1893 moved to St. Paul, Minnesota. During the 1890s Martin was plagued by ill health and financial struggles. A dead optic nerve in one eye and a cataract in the other, left him close to blindness when he died in February 1897. At the time of his death two of his greatest paintings, Westchester Hills (circa 1887) and Harp of the Winds (1895), remained unsold and another, Adirondack Scenery (1895) had been bought by Clarke for circa $400.

In 1890, Clarke had dissolved his dry-goods partnership, Clarke & King, and announced that he would no longer deal in American pictures except as an agent for George Inness. Clarke opened a showroom known as "Art House" in 1891 on Fifth Avenue in New York City, and began dealing primarily in Oriental porcelains and Greek antiquities. The Martin letters are one source of evidence that Clarke did, however, continue to deal in American art as a private agent through Macbeth Gallery and others. A letter written on Clarke's behalf to Martin dated April 17, 1896, stated that he had contacted Samuel P. Avery on Martin's behalf, and suggested that he consign his paintings to Avery, rather than having Clarke promote them himself.

In January 1899 Clarke announced that he would dispose of his American pictures at auction following a week long exhibition at the American Art Association. In February 1899, 7 of the 10 Homer Martin paintings in Clarke's possession were sold at that auction, including Adirondack Scenery for $5500. Within two years of his death, Martin's Harp of the Winds was acquired by the Metropolitan Museum of Art.

In addition to the Metropolitan Museum, Martin's work can be found in other important American museums including the Addison Gallery of American Art, the Albany Institute of History and Art, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. He became a member of the National Academy of Design in 1874 and was one of the founders of the Society of American Artists.
Related Material:
The James Stillman letters relating to Homer Dodge Martin have also been digitized and are available online via the Archives of American Art's website. Additional material relating to Homer Dodge Martin, including correspondence with Thomas B. Clarke and Elizabeth Martin, can be found in the Macbeth Gallery records at AAA.
Provenance:
Most of the letters were donated by Charles Feinberg in 1957. Four additional letters were given to the Archives by Irving Burton in 1967.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters  Search this
Topic:
Art dealers -- New York (State) -- New York  Search this
Art patrons -- New York (State) -- New York  Search this
Art -- Economic aspects  Search this
Collectors and collecting -- New York (State) -- New York  Search this
Citation:
Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clartbhm
See more items in:
Thomas B. Clarke letters from or about Homer Dodge Martin
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-clartbhm
Online Media:

Anna Wells Rutledge papers

Creator:
Rutledge, Anna Wells  Search this
Names:
Delphian Club (Baltimore, Md.)  Search this
Tuesday Club (Annapolis, Md.)  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Coffee, William John, 1774-1846  Search this
Cowdrey, Mary Bartlett, 1910-1974  Search this
Gilmor, Robert, 1774-1848  Search this
Philip, William Henry, 1829-1882  Search this
Powers, Hiram, 1805-1873  Search this
Extent:
1 Linear foot ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1940-1961
Scope and Contents:
Correspondence and research material. Among the subjects researched are New Orleans artists; 19th century South Carolina newspaper articles on artists; the Delphian Club in Baltimore; the Tuesday Club in Annapolis, Maryland; collector William Henry Philip; the Thomas B. Clarke Collection; William John Coffee; Robert Gilmor; and Hiram Powers. Also included are exhibition catalogs of Maryland artists, a bibliography of the writings of Mary Bartlett Cowdrey, and miscellany.
Biographical / Historical:
Art historian; Charleston, S.C.
Provenance:
Donated 1961 by Anna Wells Rutledge.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Artists -- Maryland  Search this
Artists -- Louisiana -- New Orleans  Search this
Artists -- South Carolina  Search this
Art historians -- South Carolina  Search this
Identifier:
AAA.rutlanna
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rutlanna

Charles M. Kurtz papers

Creator:
Kurtz, Charles M. (Charles McMeen), 1855-1909  Search this
Names:
Albright Art Gallery (Buffalo, N.Y.)  Search this
American Art Association  Search this
Buffalo Fine Arts Academy  Search this
Exposition universelle internationale de 1900 (Paris, France)  Search this
Louisiana Purchase Exposition (1904: Saint Louis, Mo.)  Search this
National Academy of Design (U.S.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Saint Louis Exposition and Music Hall Association (1883-1902 : Saint Louis, Mo.)  Search this
Southern Exposition (1885 : Louisville, Ky.)  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Starkweather family  Search this
Abbey, Edwin Austin, 1852-1911  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Hallowell, Sara  Search this
Hambidge, Jay, 1867-1924  Search this
Hasbrouck, Du Bois Fenelon, b.1860  Search this
Irwin, Benoni, 1840-1896  Search this
Ives, Halsey Cooley, 1847-1911  Search this
Kurtz, Davis Brook Kurtz, 1826-1906  Search this
Kurtz, Julia Stephenson  Search this
Reid, Alexander  Search this
Rhodes, Charles Ward, d. 1905  Search this
Richardson, Mary Curtis, 1848-1931  Search this
Sedelmeyer, Charles  Search this
Thum, Patty P., 1853-1926  Search this
Wanamaker, John, 1838-1922  Search this
Wickenden, Robert J.  Search this
Photographer:
Pluschow, Guglielmo  Search this
Extent:
27.74 Linear feet
Type:
Collection descriptions
Archival materials
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Date:
1843-1990
bulk 1884-1909
Summary:
The papers of arts administrator, museum director, collector, dealer, and editor Charles M. Kurtz (1855-1909), measure 27.74 linear feet and date from 1843-1990 (bulk dates 1884-1909). The bulk of the collection consists of detailed chronological correspondence between Kurtz and his wife and family, friends, colleagues, and business associates that documents many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Scope and Content Note:
The Charles M. Kurtz papers measure 27.74 linear feet and date from 1843 to 1990 with the bulk of the material dating from 1884 to 1909. The bulk of the collection consists of chronological correspondence between Kurtz and his family, most notably his wife, friends, colleagues, and business associates. Kurtz's letters are amazingly detailed and document many notable exhibitions, galleries, museums, private collections, as well as cities, people, and events of the period. The letters between Kurtz and his wife are most interesting for their descriptive commentary on late 19th century life and offer a complete picture of Kurtz's activities. Many of Kurtz's letters to Halsey C. Ives can be found in the Halsey C. Ives Papers. Some of the letters in the collection are illustrated. Also found in the collection are Kurtz's diaries, scrapbooks, printed materials, and photographs.
Arrangement:
The collection is organized into twelve series.

Series 1: Biographical Information, 1885-1931, undated

Series 2: Correspondence, 1843-1940, undated

Series 3: Circulars/Requests for Submissions of Works of Art, 1886-1905

Series 4: Legal Records, 1881-1928

Series 5: Financial Records, 1870-1989, undated

Series 6: Diaries, 1894-1901

Series 7: Notes and Writings, 1872-1980, undated

Series 8: Scrapbooks, 1878-1909

Series 9: Printed Material, 1873-1990, undated

Series 10: Photographs, 1898-1990

Series 11: Photographs of Works of Art, undated

Series 12: Miscellany, undated
Biographical Note:
Charles M. Kurtz's name is known to many scholars and students of American art history. To some he is important for his critical writings, others are interested in his management of exhibitions for the Art Union and the American Art Association. Many are aware of him because of his publication of National Academy Notes, which continued for nine years. Still others are familiar with Kurtz in his role as an art administrator for late 19th century art exhibitions like those at the 1893 Columbian Exposition in Chicago and the St. Louis Fair, or for his accomplishments as the first director of the Albright Gallery in Buffalo, New York. Sometimes researchers have become familiar with his name through the sale catalogue for his considerable collection, which was sold at auction after his death in 1909. His career, which encompassed the last quarter of the nineteenth century and the first decade of the twentieth century, touched on virtually every aspect of art in America during that period.

Born in 1853 to Davis Brook Kurtz (1826-1906), an attorney, and Julia Wilder, Charles Kurtz enjoyed a genteel upbringing. The Kurtz family originated in Darmstadt, Germany, and migrated to America in the eighteenth century. D.B. Kurtz, a leading member of the Lawrence County bar, was also a vice-president of the National Bank of Lawrence County, Pennsylvania. As a local representative of many important railroad and business interests, he accumulated assets estimated at one million dollars by the time of his death, just three years before that of his son, Charles, the eldest of his five children. Unlike his brothers Louis, who also became an attorney, and Edward, a professor at Columbia University, Charles eschewed a professional career to enter the art world, as did his sisters Emily, an artist, and Catherine, a musician.

After his graduation from Washington and Jefferson College in Washington, Pennsylvania, Kurtz visited the Centennial Exposition, held in 1876 in Philadelphia, before coming to New York to study art at the National Academy of Design. These two activities foreshadowed the direction that his career would eventually take. As the chronology indicates, his early efforts revolve around writing for a variety of publications, most notably, his own National Academy Notes. In 1881 he took what was to be the first of many trips abroad to survey the art scene in Europe. Later in his career, his fascination with foreign art and his own entrepeneurial interests led him to become an outspoken opponent of tariffs on imported art.

Kurtz's personal life changed significantly in 1884 when he met Julia Stephenson, a physician's daughter and fledging art student from Harrodsburg, Kentucky. Throughout their courtship and after their marriage the couple was frequently separated. Consequently, they wrote lengthy letters which document not only their personal relationship but also Kurtz's aspirations and activities in the art world.

With his appointment as one of Halsey C. Ives's (1847-1911) chief assistants of the Fine Arts Department of the World's Columbian Exposition in 1891, Charles Kurtz's career achieved international stature. Among the most notable European artists he introduced into this country through circulating exhibitions were the Glasgow School, the Danish School, the Hungarian artist, Mihaly Munkacsy, and the subject of his final exhibition, the Spanish artist, Sorolla.

Throughout his life, Kurtz was plagued by health problems and, in 1899, illness forced him to resign as Assistant Director of Fine Arts for the United States for the Paris Exposition of 1900. Throughout the following decade, his work was increasingly interrupted by ill health. His death in 1909 at the age of 54, while sudden, was not entirely unexpected. However it most certainly cut short a cosmopolitan career that encompassed virtually every aspect of the art world and the pertinent issues of the day.

Kurtz is remembered for his editorial work with the National Academy of Design; as Art Director for the Southern Exposition, 1883-1886, and the St. Louis Exposition, 1894-1899 (where he introduced the Glasgow School of Painting); and as Assistant Chief/Director for the World's Columbian Exposition, the 1900 Paris Exposition, and the 1904 Louisiana Purchase Exposition. He was also director of the Buffalo Fine Arts Academy.

1855 -- Charles McMeen Kurtz born

1876 -- receives B.S. degree from Washington and Jefferson College, Washington, Pennsylvania

1876-78 -- studies at the National Academy of Design, N.Y. with Lemuel Wilmarth and William Morgan; writes a column, "New York Letters," for The Courant published in New Castle, Pennsylvania

1878 -- edits a small daily paper published during a "National Camp Meeting for the promotion of Holiness" held that summer in New Castle, Pa.; its critical stance resulted in his public denouncement and earned him a reputation as a journalist in western Pennsylvania; receives M.A. from Washington and Jefferson College

1878-79 -- becomes the local editor of The Guardian of New Castle

1879 -- publishes The Daily Reporter, a financial success

1881 -- publishes the first issue of National Academy Notes; travels in Europe, spending time in England, Holland, Belgium, Germany, Switzerland, Italy and France (Paris)

1881-82 -- prepares Illustrated Notes for Metropolitan Museum of Art exhibition

1882 -- writes "Art Notes" in The New York Tribune and resigns Dec. 23rd

1882-83 -- accepts position to write for Music and Drama, a new daily paper

1883 -- becomes the general manager of the American Art Union; exhibits a large collection of Art Union paintings in Buffalo, N.Y. and Louisville, Ky., where they became part of the Southern Exposition's first great art display

1883-86 -- accepts offer to become Director of the Art Department, Southern Exposition, Louisville, Kentucky

1884 -- edits Art Union magazine until December; applies for position to head the Art Department of the New Orleans World's Fair in September

1884-86 -- accepts a position offered by the American Art Association; terminates uncongenial relationship in March, 1886

1885 -- writes catalogues for the sale of the George Seney Collection and for the Watts exhibition at the Metropolitan Museum of Art, New York; October 1, marries Julia Stephenson (1861-1931), daughter of Dr. A. T. Stephenson of Harrodsburg, Kentucky; they had two daughters who survived them: Julia Wilder Kurtz (1889-1977), and Isabella Starkweather Kurtz (1901-1991); another daughter, Elizabeth Stephenson Kurtz (1886-1897), predeceased them

1886 -- terminates employment with the Art Association; daughter, Elizabeth Stephenson Kurtz, born

1886-87 -- manages the circulation of Mihaly Munkacsy's Christ Before Pilot for Charles Sedelmeyer to American venues: New York, Boston, St. Louis, Cincinnati, Kansas City, Minneapolis, Saint Paul, Nashville, Phildelphia, Indianapolis; tour generates $90,000 in ticket receipts

1889-91 -- February 24, appointed art critic ("Art Notes") and book reviewer for New York Daily Star; later literary and art editor of the Sunday Star

1890 -- writes for the Sunday edition The Press, a New York paper

1891 -- writes for The World; art editor for The New York Recorder; contributes to the New York Truth

1891-93 -- contributes to Chicago Evening Post ; writes artist biographies for The Chicago Graphic, a regional magazine; appointed Assistant Chief of the Department of Fine Arts of the World's Columbian Exposition

1894 -- contributes column, "Art at the Exposition" to St. Louis Life

1895 -- tours Denmark, Scotland, and France during the summer on behalf of the St. Louis Exposition

1894-99 -- appointed Director of the Art Department of the St. Louis Annual Exposition

1896 -- elected member of The Japan Society, London

1897 -- daughter, Elizabeth (Daisy), dies

1898 -- receives a diploma and medal "in recognition of valuable services in connection with the Fine Arts Exhibit" from the directors of the Trans-Mississippi International Exposition, Omaha

1899 -- appointed Assistant Director of Fine Arts for the United States Commission to the Paris Exposition of 1900; resigned in July due to ill health

1901-04 -- appointed Assistant Chief of the Department of Art of the Louisiana Purchase Exposition, August

1901 -- daughter, Isabella Starkweather Kurtz, born

1902 -- receives honorary Ph.D from Washington and Jefferson College "in recognition of distinguished ability and services as an art critic and writer"

1905 -- receives the cross of the Order of Merit from Prince Ferdinand of Bulgaria; appointed Director, Buffalo Fine Arts Academy and Albright Art Gallery, Buffalo, New York, in January; exhibits Glasgow paintings at Albright Art Gallery from November until the following April

1906 -- writes Academy Notes, a bulletin pubished by the Buffalo Fine Arts Academy and the Albright Art Gallery; father, D.B. Kurtz, dies in Newcastle, Pennsylvania

1907 -- accused of importing German pictures free of duty for exhibition purposes and then selling some for profit

1908 -- Honorary Doctor of Philosophy degree conferred by Washington and Jefferson College

1909 -- Charles M. Kurtz dies in Buffalo, New York on March 21

1910 -- Sale of the private collection of Charles M. Kurtz at auction, Fifth Avenue Art Galleries, February 24-25

1931 -- Widow, Julia Stephenson Kurtz dies October 30

1977 -- Daughter, Julia Wilder Kurtz, dies

1991 -- Daughter, Isabel Starkweather Kurtz, dies in Buffalo, N.Y.; remaining Charles M. Kurtz Papers bequeathed to the Archives of American Art and the National Academy of Design, New York
Related Material:
The St. Louis Exposition/Halsey C. Ives papers in the Archives of American Art contain material relating to Charles M. Kurtz.

Additional Charles Kurtz papers, 1870-1910, including 340 letters which discuss exhibitions, sales of art, patronage, atelier visits, and submissions to publications, and letters to his parents in which he discsses the art market and art world new; as well as manuscripts, notebooks, a diary, and printed ephemera relating to exhibitions and publications, are available at the Getty Research Institute, Research Library, Los Angeles, California.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel 4912) including Charles Kurtz's Glasgow painting diary. The loaned diary was returned to the lender and can now be found at the Yale Center for British Art in New Haven, Connecticut. This material is not described in the collection container inventory.
Provenance:
For many years, the Kurtz Papers were thought to have been destroyed in a fire. Isabel Kurtz, a school teacher who lived with her older sister in Buffalo, New York, was vague when initially approached about her father's papers by Archives Regional Director, Robert Brown in the mid-1980s. However upon her death in 1991, her will revealed that the papers were indeed in her house in Buffalo and the bulk of them were bequeathed to the Archives of American Art. Paintings and a diary relating to the Glasgow School were given to the Yale Center for British Art. That diary has subsequently been duplicated on microfilm and is now also available in the Archives. Scorch marks on some of the papers and also on the paintings given to Yale suggest that there was indeed a fire. The material that was not bequeathed to the Archives included duplicates of printed documents along with books from the Kurtz library and a coin collection, all of which were dispersed in an estate auction that was held in Buffalo in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
Rights:
Glasgow painting diary, Microfilm reel 4912: Authorization to publish, quote, or reproduce requires written permission from Yale Center for British Art. 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.
Occupation:
Editors -- United States  Search this
Art critics -- United States  Search this
Arts administrators -- United States  Search this
Topic:
Works of art  Search this
Glasgow school of painting  Search this
Exhibitions -- United States  Search this
Art, Scottish  Search this
Art -- Private collections  Search this
Art criticism  Search this
Art museums -- Buffalo (N.Y.)  Search this
Art -- Collectors and collecting  Search this
Museum directors -- New York (State) -- Buffalo  Search this
Genre/Form:
Menus
Photographs
Lithographs
Etchings
Address books
Engravings
Visiting cards
Diaries
Photogravures
Tempera paintings
Oil paintings
Sketches
Citation:
Charles M. Kurtz papers, 1843-1990 (bulk 1884-1909). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kurtchar
See more items in:
Charles M. Kurtz papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kurtchar
Online Media:

Winslow Homer collection

Creator:
Homer, Winslow, 1836-1910  Search this
Names:
Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this
Prang, Louis, 1824-1909  Search this
Salinger, Emil  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1863, 1877-1945
Summary:
The Winslow Homer collection measures 0.2 linear feet with material from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.
Scope and Content Note:
The Winslow Homer collection measures 0.2 linear feet with material that dates from 1863 and 1877 to 1945. The collection documents Homer's career as a painter and lithographer through letters, printed material, family records, and photographs.

Letters in the collection primarily document Homer's later career between 1890 and 1909. Included are an illustrated letter to the art collector George G. Briggs concerning frames, and twenty-six letters to art collector and friend, Thomas B. Clarke, discussing Homer's artwork, exhibitions, sale of his work, and his family. Many of the Clarke letters are transcribed. Also found are twelve letters to Louis Prang, a friend and successful chromolithographer, concerning Homer's drawing techniques and making drawings for Prang's use. Miscellaneous letters include a letter to cellist Emil Salinger, art editor Florence Fuller, and others, discussing his artwork. Marie "Midie" W. Blanchard was Homer's cousin and the folder of her letters includes a letter from Homer to her, and two letters from her to others about Homer.

This collection also contains photograph copies of four pages from the "Family Record" in the Homer family Bible, which records births, deaths, marriages, and locations of family members. The "Century Loan Exhibition" catalog is annotated throughout with notes regarding the exhibition and contains an introduction by Booth Tarkington. Also found is a newspaper clipping about Homer's artwork. Photographs include twenty albumen and cyanotype photographs, on two pages from a photo album, of Winslow Homer and family in various activities.
Arrangement:
Due to the small size of this collection, items are categorized into one series consisting of twelve folders. Items are arranged chronologically within each folder.
Biographical Note:
Winslow Homer was born in Boston, Massachusetts, in 1836. He was raised in Cambridge, where he developed a love of art and the outdoors. At the age of 19 he began his career as an illustrator, apprenticing at the J.H. Bufford lithographic firm in Boston. He then decided to become a freelance illustrator. In 1859 Homer moved to New York to work for Harper's Weekly, serving as artist-correspondent for the magazine during the Civil War. After taking some art classes at the National Academy of Design, he decided to focus on oil painting. He quickly gained international recognition as a painter, and in 1866 made his first trip to Europe. In 1873 he decided to work in watercolor and found great success in his experimentation with light and color in this medium. In the mid-1880s Homer moved permanently to Prout's Neck, Maine, an isolated area where he built a studio and focused his paintings on man's struggle with nature. Also during the 1880s he worked on a series of etchings based on his paintings. Homer continued to paint for the next twenty years, vacationing summers in places such as the Adirondacks and the Bahamas to capture varied landscapes, until his death in 1910.
Related Material:
Also found in the Archives of American Art are the Winslow Homer letters to M. Knoedler & Company, 1900-1904.
Provenance:
Items in this collection are gifts of various donors. The exhibition catalog was donated by Lawrence Fleischman in 1954, the photographs donated by Dorothy Adlow in 1961, and the Marie Blanchard letters and news clipping donated by Carlotta Claflin in 1976. Other letters were donated by Charles Feinberg in 1959, Joyce Tyler in 1979, Lawrence Fleischman in 1959, Jean Meissner and William T. Campbell in 1966, Katherine H. Coudon in 1989, and Edgar Salinger in 1961. The bible pages were a 1977 anonymous donation. Items were microfilmed shortly after receipt.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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 -- Maine  Search this
Topic:
Art -- Collectors and collecting  Search this
Painting, American  Search this
Citation:
Winslow Homer collection, 1863, 1877-1945. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.homewinl
See more items in:
Winslow Homer collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-homewinl
Online Media:

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