Collected photographic portraits of Charles Lang Freer by Edward Steichen, Alvin Langdon Coburn, etc. Taken in Detroit, Capri, Japan, Egypt etc. Photographs date from the 1880s to near his death in 1919.
Photographic portraits of Charles Lang Freer
Arrangement:
Organized by photographer and by country.
Local Numbers:
FSA A.01 12.01
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Photographs of Charles Lang Freer taken by Alvin Langdon Coburn, February 1909. They depict Freer in a variety of poses, such as leaning against a desk, examining some artwork, or simply facing the camera. One print was sent to the Freer Gallery in 1955 by a relative of Freer's business partner Frank Hecker. Two autochromes and 14 platinum prints.
Arrangement:
Organized by country.
Biographical / Historical:
Alvin Langdon Coburn (1882-1966) was born in Boston, Massachusetts to a middle class British family. Coburn began exploring photography after receiving a camera for his eighth birthday. However, it was not until a few years later that he began exploring photography seriously. Coburn opened his first studio in New York City in 1902 to exhibit his prints, and became part of a crowd that wanted to establish photography as art. He moved to London in 1904 to take portraits of celebrities, including an iconic one of George Bernard Shaw posed nude as Auguste Rodin's "The Thinker." Coburn not only shot portraits, but also unique street scenes of New York City. He was quite interested in creating the fractured affects of cubism and futurism through use of photography, as demonstrated in his "vortographs." He experimented with perspective and abstract patterns. Later in his life, Coburn became disinterested in photography as his interest in mysticism grew. He resumed photography in the 1950s before his death in 1966.
Local Numbers:
FSA A.01 12.01.2
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Biographical information, correspondence, writings, photographs, printed material, including clippings, exhibition and auction catalogs, monographs, and art works by Perrine and his students. A small amount of papers of Perrine's wife Theodora Snow and daughter, Mary Perrine, are also included.
REEL D23: Photos of works of art and one photo of Perrine; and catalogs, announcements, and articles about Perrine.
UNMICROFILMED: Ten biographical accounts, an award from the Carnegie Institute for "The Robbers," 1903; letters; exhibition catalogs; a scrapbook with clippings, sketches, and a photograph, 1894-1906; clippings; 2 scrapbooks of clippings, 1897-1915; bulletins and reports from art organizations concerning the League for the Preservation of the Palisades, 1893-1973; exhibition and auction catalogs; a book A FULL LIFE--THE STORY OF VAN DEARING PERRINE by Lolita L. W. Flockhart, 1939; photographs of Perrine, 1912-1950, his family, 1912-1960, his works of art, Perrine working with children, and miscellaneous photographs of a model and works of art by others; and printed material. Among the photographers are A. D. Chapman, and Alvin Langdon Coburn.
ADDITION (N.Y) Drafts of writings on art, many written in pencil (1905, n.d.); a scrapbook of Perrine's manuscript writings; a small amount of correspondence with Carlton Noyes (1903-1945); monographs, many of them presentation copies, some illustrated by Perrine, from Claude Bragdon, Isadora Duncan, J.P. Mowbray, and Carlton Noyes. Artwork includes fifty-three small pastels, crayon and pencil drawings by children who studied with Perrine during the 1940s and 1950s, fourteen large pastels, many of which were published in LET THE CHILD DRAW, one roll of twenty murals done by children, and three large pastels. Photographs are of Perrine's paintings and book illustrations, his Mt. Tremper, New York and Milburn studios, and family photographs (1905-1955, n.d.). Papers of Perrine's wife, Theodora Snow Perrine, consist of biographical material, correspondence (1933-1964), published articles, and photographs of Theodora teaching rhythmics and music to children; and a small portion of material on the Perrines' daughter, Mary Perrine, includings correspondence (1949-1953), playbills, and writings on rhythmics (ca. 1960).
Biographical / Historical:
Painter, art educator; New York, N.Y. b. 9/10/1868, Garnett, Kan.; d. 12/10, 1955, Stamford, Conn.
Provenance:
Material on reel D23 lent for microfilming 1962 by Joyce Malcolm; unmicrofilmed material donated 1985 and 2002 by Kristina Leeb-Lundberg, the executor of Perrine's daughter's estate.
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:
Art teachers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Papers concerning Freer's art collecting activities, including correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs. In addition to Freer's own correspondence, the papers include correspondence collected by Freer of James McNeill Whistler and of Whistler collector Richard A. Canfield, correspondence of Freer's assistant Katharine Nash Rhoades, and correspondence regarding Freer's bequest to the Smithsonian Institution.
Correspondence, ca. 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; 30 v. of letterpress books containing copies of letters sent, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler' mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer letters and regarding the settlement of his estate.
Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910;
Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art;
correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenellosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Among Freer's correspondents are: Otto Bacher, Bernard Berenson, Siegfried Bing, Laurence Binyon, W.K. Bixby, Sigisbert Chretien Bosch-Reitz, Charles H. Caffin, Colin Campbell, Richard Canfield, William Merritt Chase, Frederick Stuart Church, Alfred Vance Churchill, Thomas Wilmer Dewing, Arthur Wesley Dow, Ernest Fenollosa, Albert Gallatin, John Gellatly, Frederick W. Gookin, Sadakichi Hartmann, Frank J. Hecker, Dikran Kelekian, M. Knoedler & Co., Berthold Laufer, Lien Hui Ching Collection, W.A. Livingstone, Frederick McCormick, Bunkio Matsuki, Gari Melchers, Agnes Meyer, Eugene Meyer, Charles Moore, Yozo Nomura, Rosalind Birnie Philip, Charles A. Platt, Theodore Roosevelt, Augustus Saint-Gaudens, the Smithsonian Institution, Joseph Stephens Warring, Thomas Way, Abbott Handerson Thayer, Dwight W. Tryon, Charles Walcott of the Smithsonian Institution, Beatrix Whistler, James McNeill Whistler, K.T. Wong, Yamanaka & Co., and Seaouke Yue.
Arrangement:
All correspondence except letterpress books: arranged alphabetically by correspondent; letterpress books are chonological.
Biographical / Historical:
Art collector; Detroit, Michigan. Collected Asian, American, and European art, including a large collection of works by James McNeill Whistler. Founded the Freer Gallery of Art, which is now part of the Smithsonian Institution.
Provenance:
Selected for microfilming from the Charles Lang Freer papers at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Microfilmed 1992 by the Archives of American Art with funding provided by the Smithsonian Institution's Office of Fellowships and Grants Research Resources Program. Portions of the correspondence and the letterpress books were previously filmed by the Freer in the 1970 (AAA reels 77, 453-456, and 1217-1232); those reels have been replaced by this microfilming project. See Finding Aid for information on papers not selected for microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Extensive correspondence and subject files, ca. 1864-1977, containing mainly letters received from photographers, photography clubs and societies, authors, friends, models, colleagues, and others, and some drafts of letters sent. Some of the files contain writings, printed material, photographs, or correspondence of the Norwood Historical Society, 1961-1977. The correspondence refers to Day's photography, the 1904 fire which destroyed Day's studio, his involvement with literary groups and the Linked Ring, requests for articles on photography from publishers, requests for Day to exhibit and judge photography exhibitions, his interest in John Keats and collecting Keatsiana, and fine printing and his firm Copeland and Day.
Several notable files are "Day," containing correspondence, letters from his father, Lewis Day, 1870-1904, writings by Day, "Is Photography Art?", "Sacred Subjects in Photography," and reviews and essays Day contributed to "Knight Errant," an article on Day by Ralph Hazell, "A Visit to Mr. Fred Holland Day," 1899, clippings on Day, 1899-1935, and an annotated photograph regarding Day's photo collaboration with Estelle Baston. "Photography" containing: letters from Roger Clark, George C. Cox, Sylvester Rosa Koehler, Charlotte Perkins, Robert Redfield, Mathilde Weil and others, exhibition catalogs and announcements, undated and 1901-1902; "Gertrude Kasebier," consisting of a letter from Arthur B. Davies to Day and her own letters to Day, which give a sense of tension between Day and Alfred Stieglitz, and her own frustration with Stieglitz; "Ralph Adams Cram," with correspondence, 4 photos of Cram, excerpts from his book "My Life in Architecture," and obituaries; and "Copeland and Day," containing correspondence with authors and artists, material on book and printing exhibitions, and letters from customers.
Other notable subjects and/or correspondents include: C. Yarnell Abbott, W. Fred Allen, Anthony Angotti, J. Williams Beall, Curtis Bell, Lord Alfred Douglas, Edgar Farwell, Kahil Gibran, Bertram Goodhue, Laura Hills, Maxfield Parrish, William Ordway Partridge, Eva L. Watson Schutze and Anne Whitney.
Also included are ca. 150 photographs and tintypes of Day, 1865-ca.1930, some taken by Alvin Langdon Coburn, Reginald Craigie, Frederick H. Evans, Fred Hollyer, Gertrude Kasebier, Edward Steichen, Thomas Walter, Clarence White, and Jennie Woodbury; and photos of Lewis Day. Other photographs included are: photos by Day (and some probably by Day but unidentified), of Herbert Copeland, Anna Day Smith, Lewis Day, Alice Brown, Louise Guiney, and other subjects; photographs of Day's home in Norwood and his chalet in Maine; and photographs of various subjects by Frederick Evans, Gertrude Kasebier and Clarence White, Sr.
Arrangement:
Files are arranged alphabetically by file title and photographs and photograph albums are arranged in random numerical order as assigned by the Norwood Historical Society which owned the original papers at the time it was lent for microfilming.
Biographical / Historical:
Photographer; Norwood, Mass. Day began photography in the late 1880s. By 1895 he had established a reputation as a pictorial photographer, and was elected to the Brotherhood of the Linked Ring. In 1900 he arranged in London the first major exhibition of pictorial photography in Europe. A fire in his Boston studio destroyed over 2,000 glass negatives in 1904, which ended his photography career. Day was also a collector of Keatsiana. He published fine books of poetry and other literary works at his firm of Copeland and Day from 1893-1899.
Provenance:
Material on reels 3565-66 was lent for microfilming by the Norwood Historical Society in 1985. Material on reels 4950-4956 was lent in 1994. Six letterpress books, files of his publishing firm of Copeland and Day, and a scrapbook of European travel clippings were not microfilmed.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career.
Scope and Content Note:
The papers of photographer and teacher Imogen Cunningham, date from 1903 to 1991. The collection measures 5.9 feet of material, including correspondence, business and financial records, writings, printed matter, and photographs, and provides a good overview of Cunningham's life and career. 3.6 linear feet of correspondence comprise the bulk of the collection.
Arrangement:
The collection is arranged into ten series according to material type:
Missing Title
Series 1: Biographical Material, 1907-1981, undated (box 1; 4 folders)
Series 2: Correspondence, 1909-1991, undated (boxes 1-4; 3.6 linear feet)
Series 3: Personal Business Records, 1944-1976 (box 4; 15 folders)
Series 4: Notes, 1959-1968 (box 4; 10 folders)
Series 5: Teaching Files, 1964-1971 (box 5; 4 folders)
Series 6: Writings, circa 1910-1976 (box 5; 21 folders)
Series 7: Interview Transcripts, 1951, undated (box 5; 2 folders)
Series 8: Printed Material, 1903-1991 (boxes 5-7; 1.2 linear feet)
Series 9: Photographs, 1916-1976 (box 7; 12 folders)
Series 10: Oversized Material, 1947-1948, 1967, undated
Biographical Note:
Born in Portland, Oregon on April 12, 1883, Cunningham's family moved to Seattle in 1889. Inspired by Gertrude Kasebier's work, she purchased her first camera in 1901. After studying chemistry and botany at the University of Washington, she worked for the Edward S. Curtis Studio, Seattle, from 1907 to 1909. Receiving a scholarship, Cunningham studied for a year at the Technische Hochschule, Dresden.
Upon her return to Seattle in 1910, she opened a studio and had the first major exhibition of her work at the Brooklyn Institute of Arts and Sciences in 1912.
In 1915, Cunningham married printmaker Roi Partridge and gave birth to her first son, Gryffyd. Two years later, her family moved to California, where she gave birth to twin sons, Padraic and Rondal. In 1920, the family moved to Oakland, where her husband taught at Mills College. During the 1920s, she exhibited her art work and began photographing plant forms.
Along with Ansel Adams, John Paul Edwards, Sonya Noskowiak, Henry Swift, Willard Van Dyke, and Edward Weston, Cunningham formed the f/64 Group, a society of purist photographers in 1932. During the same year she began working for Vanity Fair and other magazines and began a career as a portrait photographer, including Martha Graham, Cary Grant, Morris Graves, Alfred Stieglitz, and Spencer Tracy as her subjects. She divorced her husband in 1934.
In 1947, Cunningham established a studio in her San Francisco home, and continued to exhibit extensively until her death on June 24, 1976.
Provenance:
The collection was donated to the Archives of American Art by Imogen Cunningham in 1974 and 1976, and by her son, Gryffyd Partridge, in 1991.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Photographers -- California -- San Francisco Search this
Educators -- California -- San Francisco Search this
Alvin Langdon Coburn. Alfred Stieglitz, ca. 1907. Miscellaneous photographs collection, circa 1845-1980. Archives of American Art, Smithsonian Institution.
