By agreement with the General Accounting Office, pertinent agencies must give approval before researchers are allowed to examine the documents. Researchers should contact the archives concerning this requiremnt well in advance of a visit
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
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.
Correspondence in this series is primarily between Walt Kuhn and his professional and personal contacts and spans his entire career. Correspondents include family members, fellow artists, students, dealers, museum and gallery staff, collectors, friends, fans, critics and colleagues. Copies of outgoing correspondence are often present and are interfiled chronologically. Also included is scattered correspondence of Vera and Brenda Kuhn, and correspondence written after Kuhn died that documents his family's efforts to exhibit, sell, and donate his work.
The content of the correspondence ranges from personal and candid to purely transactional. Artists, collectors, dealers, and critics involved in the creation of significant works of art and collections in the early 20th century are represented. An alphabetical index of selected correspondents in this series is provided in the appendix. Another resource for accessing correspondence are the card files in Series 4.8: Notes and Writings, where correspondence with various contacts was indexed by the Kuhns and filed alphabetically by name.
In 1938, Walt and Vera Kuhn wrote and self-published the pamphlet, "The Story of the Armory Show" and sent it gratis to hundreds of interested parties. Among the correspondence from that year are many heartfelt reponses from fellow artists and other witnesses to the 1913 event, including Charles Sheeler, William Glackens, Stuart Davis, André Derain, Henri Roché, Walter Pach, and J.H. du Bois to name just a few.
Kuhn regularly instructed students through the mail with lengthy letters about painting techniques and methods. San Francisco painter Otis Oldfield is represented by over 100 lengthy letters in this subseries. Kuhn's letters to Oldfield, returned at Kuhn's request in 1945 for a publication project that was never realized, are interfiled. Other correspondence students include Patsy Santo, Frank di Gioia, Watson Bidwell, John Bernhardt, John Laurent, Goldie Paley, and Eric Lundgren. See the appendix for dates.
Types of material include letters (sometimes illustrated), postcards, invitations, announcements, and Christmas cards, which are sometimes made of original artwork. Enclosures are often found, such as photographs, clippings, tracings of art work, writings, receipts, passes and membership cards. Some letters indicate enclosures that were previously separated and can be found in other series.
Significant writings enclosed with correspondence include an early vaudeville script written by Kuhn and his friend, Archibald Macnab (1923); drafts of articles about Kuhn by the poet Genevieve Taggard (1931), critic Alan Burroughs (1930), and patron Eloise Spaeth (1950); and an unpublished history of the 1913 Armory Show by Paul Bird (1938). Photographs and photographic postcards are also found throughout the series. Included are photo postcards from Spain and France (1925), and from Arizona and California (1928); and photographs related to Kuhn's work for the Union Pacific Railroad Company (1936, 1938).
Additional correspondence can be found throughout the collection. See individual series descriptions for details.
See Appendix for a list of selected correspondents in Series 4.3.
Appendix: Selected Correspondents in Series 4.3:
The following is a selective list of correspondents represented in Series 4.3: General Correspondence, with cross-references to correspondence in 4.4: Selected Gallery and Exhibition Files and 4.5: Provenance Files. It is not comprehensive. An effort has been made to index regionally and nationally known artists, Kuhn's patrons and students, models, art historians, writers, museum and gallery staff, dealers, and persons known to be well-represented in other collections at the Archives of American Art. Cross-references to existing letters in other parts of the Kuhn papers and Armory Show records are included selectively. Correspondents who have not been indexed include family members, neighbors, business contacts from his theater and vaudeville work of the early 1920s, and from his railroad car design work from 1936 to 1948.
Whitney, Harry: 1942 (see also Greason and Selected Gallery and Exhibition Files)
Whitney Studio Galleries (see also Force): 1929
Whitney Museum of American Art (see Force, Free, More, Freeman, Sharkey, Goodrich)
Wilder, Mitchell A. (Colorado Springs): 1946-1953 (75 letters; see also Selected Gallery and Exhibition Files)
Wilenski, R.H.: 1938, 1939, 1945-1946 (8 letters)
Williams, Adele (Women's club of Richmond): 1930
Williamson, Ada (Philadelphia Art Alliance): 1927, 1928, 1945, 1949 (19 letters; see also Selected Gallery and Exhibition Files)
Wilmington Society of the Fine Arts (see Bissell)
Wilson, Henry J.: 1950
Winser, Beatrice: 1935, 1940 (7 letters)
Woelfle, Arthur M.: 1914 (see also Selected Gallery and Exhibition Files)
Woelfle, Georgiana: 1936, 1937, 1963 (3 letters)
Wood, Stanley: 1928
Zayas, Marius de: 1934, 1939, 1947, 1948 (10 letters)
Zügel, Heinrich von: 1904
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.
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.
This series consists of personal and work-related correspondence (primarily incoming correspondence) between Cahill and various friends and colleagues. While a large portion of the series documents Cahill's position as Director of the FAP, it also extends beyond those years and illuminates other aspects of Cahill's career including his interest in folk and Asian art, and his work as an art critic.
There is significant correspondence with the artist Stanton MacDonald Wright between 1936 and 1950, and with the artist Irene Pereira between 1950 and 1953. The series also documents research which Cahill conducted in the late 1940s on the development of the Index of American Design for his introduction to a book on the Index by the National Gallery of Art, published by the Macmillan Company. Correspondence from 1949 provides another angle on the historical details of the FAP through lengthy correspondence documenting Cahill's criticism of William Francis McDonald's book Federal Relief Administration and the Arts (Ohio State University Press, 1969).
There is a large amount of correspondence from July 1960 comprising sympathy letters to Dorothy C. Miller following Cahill's death. Correspondence from 1977 encloses a catalog of an exhibition organized by New York WPA Artists, Inc., at the Parsons School of Design in November 1977. The exhibition, New York City WPA Art, was dedicated to the memory of Holger Cahill.
See Appendix for a list of correspondents (with the exception of those microfilmed on reel 1105) in Series 2
Appendix: Correspondents in Series 2:
Abbott, Berenice: 1944 (letter to the Editor)
Abbott, John: 
Abell, Walter ( -- Canadian Art): -- 1943-1944 (2 letters)
Adams, Charles C.: 1940
Alcopley, Mr.:  (including typescript "Pictures of Alcopley" by Saburo Hasegawa); 1953-1960 (4 letters)
Alsberg, Henry G. (Director, Federal Writers' Projects): 1936 (4 letters)
American Council of Learned Societies: 1949
American Federation of Arts: 1949-1952 (3 letters)
American Folk Art Gallery: 1941
American Heritage: 1954
American Swedish Historical Foundation: 1949
Andrews, Robert Armstrong and Eleanor: , undated
Art in America: 1953
Artists For Victory: 
Artists League of America: 1945
Artists Union of Massachusetts: 1936 (telegram to President Roosevelt)
Arts Council of Japanese Americans for Democracy: 1944
Ashton, Dore: 
Bach, Richard F. (Metropolitan Museum): 1924 and 1950
Bailey, Herbert: 1972 (letter from Naomi Bliven)
Baker, Donald: 
Baker, Jacob (WPA): 1935-1960, undated (10 letters)
Barach, Frederica (Writers' War Board): 1944
Barker, Virgil and Ida: 1945-1960 (4 letters)
Barnard College: 1951 (2 letters)
Barr, Alfred H., Jr. (Museum of Modern Art): 1935-1960 (16 letters)
Barr, Tony: 1960
Batten, Barton, Durstine & Osborn, Inc.: 1950
Baur, John (Brooklyn Museum): 1946-1960 (6 letters)
Winchester, Alice ( -- Antiques -- Magazine): 1950-1951 (6 letters)
Winser, Beatrice: 1924-1944 (6 letters)
Winter, Anna K. (antiques dealer): 1935
Wisconsin: State Historical Society of Wisconsin: 1939
Woodstock Artists Association: 1960
Woodward, Ellen S.: 1936-1938 (3 letters)
Worcester, Wakefield (architect): 1936
Wright, Russell (industrial designer): 
Wyn: A. A. Wyn, Inc.: 1951
Youngerman, Jack: 1960
Zegri, Armando (Galeria Sudamericana): 1960
Zimmerman, Fred and Dorothy: 
Zorach, William: 1936-1960 (3 letters)
The microfilm of this collection has been digitized and is available online via the Archives of American Art website.
Holger Cahill papers, 1910-1993, bulk 1910-1960. Archives of American Art, Smithsonian Institution.
Funding for the digitization of the microfilm of this collection was provided by Jane Blumenfeld.
Roberts, Frank H. H. (Frank Harold Hanna), 1897-1966 Search this
ca 3100 Photographs (Prints: 8 boxes;
Nitrate negatives: 15 boxes, 1 MS folder;
Acetate negatives: 8 boxes;
Glass negatives: 2 boxes plus sink-mats;
Lantern slides: 4 trays)
This material forms the photographic component of MS 4851, the Frank H.H. Roberts, Jr. papers. The bulk of the photographs document Pueblo and Basketmaker period sites excavated by Roberts, particularly in Colorado, Arizona, and New Mexico, and Paleo-Indian sites including Lindenmeier in Colorado and San Jon in New Mexico. In addition there are photographs of the Shiloh Mound site in Tennessee. Other sites studied by Roberts around the United States are represented to a smaller degree. There is also a small series that relates to sites outside the United States. The collection includes images of human remains.
Scope and Contents:
The Frank H.H. Roberts, Jr. photographs document the early years (1921-1941) of Roberts' career - first as a graduate student in archaeology and then as an archaeologist with the Bureau of American Ethnology. There are over 3100 images, the bulk of which relate to Pueblo and Basketmaker period sites excavated by Roberts, particularly in Colorado, Arizona and New Mexico and Paleo-Indian sites including the Lindenmeier site in Colorado and San Jon in New Mexico. In addition there are photographs of the Shiloh Mound site in Tennessee. Other sites studied by Roberts around the United States are represented to a smaller degree. There is also a small series that relates to sites outside the United States.
Site images show excavations, artifacts and human remains in situ, workers and their camps, and the general area surrounding the excavations. There is a large series showing artifacts including pottery and stone and bone tools from various sites. Many of the site and artifact photographs appear in Roberts' and others' publications. Some of the published photographs are arranged as such however most are filed in site or artifact series. Also in the collection is a small number of Roberts' personal photographs and several images of the Smithsonian Institution buildings and grounds.
The collection also contains several photographic reproductions of maps used in publication, but more cartographic material can be found in MS 4851.
The collection contains images of human remains.
The collection is organized into the following series:
Archaeological sites, chronological
Archaeological sites, alphabetical
Foreign travels and sites
Each photograph has a unique identifier which is a combination of the collection number, series or subseries abbreviation, and an item number. For instance, "4851SJ34" is item 34 in the subseries San Jon; 4851AF129 is item 129 in the series Artifacts.
Biographical / Historical:
Frank H. H. (Harold Hanna) Roberts (1897-1966) was an archaeologist with the Smithsonian Institution's Bureau of Ethnology from 1926 until his retirement in 1964. See Judd, Neil M. "Frank H.H. Roberts, Jr, 1879-1966," American Anthropologist 68, 1966, for a comprehensive biography and bibliography.
August 11, 1897 -- Born in Centerburg, Ohio
1919 -- BA, University of Denver
1921 -- MA, University of Denver
Summer, 1921 -- Student archaeologist on expedition to Pagosa Springs, CO sponsored by the State Historical Society of Colorado and the University of Denver
1921-1924 -- Instructor, University of Denver
Summer, 1923 -- Archaeological reconnaissance to the Piedra District in SW Colorado for the State Historical and Natural History Society of Colorado
1923-1924 -- Assistant Curator of Archaeology, Colorado State Museum, Denver
1925-1926 -- Assistant in anthropology, Harvard University
Summers, 1925-1926 -- At Chaco Canyon, NM; worked with Monroe Amsden on Pueblo pottery study for the National Geographic Society's Pueblo Bonito Expedition led by Neil M. Judd
1926 -- MA, Harvard University
Summers, 1926-1927 -- At Chaco Canyon, NM in conjunction with the National Geographic Society's Pueblo Bonito Expedition; discovered and excavated Shabik'eschchee Village
1926-1944 -- Archaeologist for the Smithsonian Institution Bureau of American Ethnology
1927 -- PhD, Harvard University
Summer, 1928 -- Directed expedition to early Pueblo site in Piedra District, Co
Summer, 1929 -- Directed expedition to early Pueblo site at Kiathuthlanna, AZ on the Long H Ranch between St. Johns and Houck
Summer, 1930 -- Directed expedition to Village of the Great Kivas, NM
Summers, 1931-1933 -- Directed expedition to Whitewater District, AZ
Winter, 1933-1934 -- Expedition to Shiloh National Military Park at Pittsburgh Landing, TN
Summers 1934-1940 -- Directed expeditions to Lindenmeier site, CO
1937 -- US representative to the International Congress of Archaeologists in Cairo, Egypt
August 1940 and 1941 -- Directed expeditions to Bc-53 site in Chaco Canyon, NM for the University of New Mexico Field School
May, 1941 -- Reconnaissance expedition to Mons site near Peaks of Otter, VA
Summer, 1941 -- Directed expedition to San Jon site, NM
1943 -- Reconnaissance expedition to Clear Fork site near Abilene, TX
1944-1946 -- Assistant Chief, Bureau of American Ethnology
1946-1964 -- Director, Smithsonian Institution River Basin Surveys
1947-1958 -- Associate Director, Bureau of American Ethnology
1958-1964 -- Director, Bureau of American Ethnology
1964 -- Retired
February 23, 1966 -- Died
Other collections and manuscripts in the NAA that include material by Roberts, document Robert's work, or pertain to subjects in this collection can be found in the Records of the Bureau of Ethnology, the BAE Numbered Manuscripts, the Records of the Department of Anthropology, and the papers of John P. Harrington, Esther S. Goldfrank, Neil M. Judd, Herbert W. Krieger, Donald J. Lehmer, Frank M. Setzler, and William Duncan Strong. The Human Studies Film Archives (HSFA) holds a number of Roberts' films.
The anthropology collections of the National Museum of Natural History hold artifacts collected by Roberts.
Roberts deposited his papers and photographs with the Bureau of American Ethnology archives in 1964, prior to his retirement from the BAE.
Access to the Frank H. H. Roberts Jr. photographs requires an appointment.
Original negatives are in special storage and require advance notice for viewing.
Photo Lot 4851, Frank H. H. Roberts Jr. photographs in MS 4851, National Anthropological Archives, Smithsonian Institution.