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Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

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2012-06-05T18:47:30.000Z

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Education  Search this

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Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

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Smithsonian Museum Conservation Institute

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MCISmithsonian

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edanmdm:yt_6CiCAe1On_Q

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

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2012-11-26T14:08:41.000Z

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Education  Search this

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Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

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Smithsonian Museum Conservation Institute

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MCISmithsonian

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edanmdm:yt_KXVyS6Allh0

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

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2012-11-26T14:08:53.000Z

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Education  Search this

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Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

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Smithsonian Museum Conservation Institute

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MCISmithsonian

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edanmdm:yt_VzolOGIMS18

Creator:

National Portrait Gallery  Search this

Type:

YouTube Videos

Uploaded:

2014-09-12T17:55:45.000Z

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Education  Search this

Topic:

Portraits  Search this

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NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

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edanmdm:yt_GWlwPEy2qmA

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2023-11-16T14:10:45.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

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americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_HU8wTW10mMU

Creator:

Lemelson Center, National Museum of American History  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2016-05-31T12:59:23.000Z

YouTube Category:

Film & Animation  Search this

Topic:

American History  Search this

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LemelsonCenter

Data Source:

Lemelson Center, National Museum of American History

YouTube Channel:

LemelsonCenter

EDAN-URL:

edanmdm:yt_5-f0Qcd097Q

Writer of supplementary text:

Milligan, Herman James  Search this

Oransky, Howard 1955-  Search this

Finley, Cheryl  Search this

nelson, crystal am 1978-  Search this

Rodney, Seph  Search this

Willis, Deborah 1948-  Search this

Physical description:

274 pages illustrations (some color), portraits (some color) 24 cm

Type:

Exhibitions

Expositions

Exhibition catalogs

Catalogues d'exposition

Date:

2022

Topic:

Photography, Artistic  Search this

African American photographers  Search this

Photographes noirs américains  Search this

Photographie artistique  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_1162217

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

Interviews

YouTube Videos

Uploaded:

2012-04-11T19:57:14.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

Data Source:

Smithsonian Museum Conservation Institute

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MCISmithsonian

EDAN-URL:

edanmdm:yt_-yxFs4XpIwM

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-06-06T15:15:36.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

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Smithsonian Museum Conservation Institute

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MCISmithsonian

EDAN-URL:

edanmdm:yt_7csr468KG7o

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-03-16T17:57:53.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

Data Source:

Smithsonian Museum Conservation Institute

YouTube Channel:

MCISmithsonian

EDAN-URL:

edanmdm:yt_N00aYLgO1Ms

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-03-16T17:16:10.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

Data Source:

Smithsonian Museum Conservation Institute

YouTube Channel:

MCISmithsonian

EDAN-URL:

edanmdm:yt_PJYT6PghkC4

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-06-05T15:23:55.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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MCISmithsonian

Data Source:

Smithsonian Museum Conservation Institute

YouTube Channel:

MCISmithsonian

EDAN-URL:

edanmdm:yt_rx-1g3zlOaE

Creator:

Smithsonian Museum Conservation Institute  Search this

Type:

YouTube Videos

Uploaded:

2012-04-03T14:05:25.000Z

YouTube Category:

Education  Search this

Topic:

Conservation and restoration;Museum conservation methods;Museum techniques  Search this

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Data Source:

Smithsonian Museum Conservation Institute

YouTube Channel:

MCISmithsonian

EDAN-URL:

edanmdm:yt_t-WFawaZzXo

Creator:

National Portrait Gallery  Search this

Type:

Conversations and talks

YouTube Videos

Uploaded:

2021-05-05T18:25:58.000Z

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Education  Search this

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Portraits  Search this

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NatlPortraitGallery

Data Source:

National Portrait Gallery

YouTube Channel:

NatlPortraitGallery

EDAN-URL:

edanmdm:yt_n7Keaj3ozEo

Artist:

Albert Sands Southworth, 12 Mar 1811 - 3 Mar 1894  Search this

Other attribution:

Josiah Johnson Hawes, 20 Feb 1808 - 7 Aug 1901  Search this

Sitter:

Albert Sands Southworth, 12 Mar 1811 - 3 Mar 1894  Search this

Medium:

Daguerreotype

Dimensions:

Image: 14.1 x 10.8 cm (5 9/16 x 4 1/4 in.)

Type:

Photograph

Date:

c. 1848

Topic:

Personal Attribute\Facial Hair\Beard  Search this

Self-portrait  Search this

Albert Sands Southworth: Male  Search this

Albert Sands Southworth: Visual Arts\Artist\Photographer\Daguerreotypist  Search this

Albert Sands Southworth: Natural Resource Occupations\Miner\Gold miner  Search this

Albert Sands Southworth: Medicine and Health\Pharmacist  Search this

Portrait  Search this

Credit Line:

Owner: The Metropolitan Museum of Art

Object number:

2005.100.79 MMA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm4ab19b787-f876-4ba5-aa8c-9691c917c8b1

EDAN-URL:

edanmdm:npg_2005.100.79_MMA

Artist:

Southworth & Hawes, active 1843 - 1862  Search this

Sitter:

Albert Sands Southworth, 12 Mar 1811 - 3 Mar 1894  Search this

Medium:

Daguerreotype

Dimensions:

8.2 x 7cm (3 1/4 x 2 3/4") [sixth plate]

Type:

Photograph

Date:

c. 1845 - 1850

Topic:

Interior  Search this

Home Furnishings\Furniture\Seating\Chair  Search this

Albert Sands Southworth: Male  Search this

Albert Sands Southworth: Visual Arts\Artist\Photographer\Daguerreotypist  Search this

Albert Sands Southworth: Natural Resource Occupations\Miner\Gold miner  Search this

Albert Sands Southworth: Medicine and Health\Pharmacist  Search this

Portrait  Search this

Credit Line:

Owner: The Metropolitan Museum of Art

Object number:

37.14.16 MMA

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm495459c6f-d48d-4207-a2f0-0ca14d5d9b51

EDAN-URL:

edanmdm:npg_37.14.16_MMA

Artist:

Southworth & Hawes, active 1843 - 1862  Search this

Sitter:

Albert Sands Southworth, 12 Mar 1811 - 3 Mar 1894  Search this

Medium:

Daguerreotype

Dimensions:

Sight: 8.6 x 6.9 cm (3 3/8 x 2 11/16 in.)

Case: 12 x 9.4 x 1.5 cm (4 3/4 x 3 11/16 x 9/16 in.)

Type:

Photograph

Date:

1850-55

Topic:

Albert Sands Southworth: Male  Search this

Albert Sands Southworth: Visual Arts\Artist\Photographer\Daguerreotypist  Search this

Albert Sands Southworth: Natural Resource Occupations\Miner\Gold miner  Search this

Albert Sands Southworth: Medicine and Health\Pharmacist  Search this

Portrait  Search this

Credit Line:

Owner: Museum of Fine Arts, Boston

Object number:

43.1426 MFAB

Restrictions & Rights:

Usage conditions apply

See more items in:

Catalog of American Portraits

Data Source:

Catalog of American Portraits

GUID:

http://n2t.net/ark:/65665/sm41a9b4edc-5119-4ef5-a1f4-48f98d22732d

EDAN-URL:

edanmdm:npg_43.1426_MFAB

Maker:

Sarony, Major, & Knapp  Search this

Artist:

Botticher, Otto  Search this

Measurements:

image: 21 in x 37 1/2 in; 53.34 cm x 95.25 cm

Object Name:

Lithograph

Object Type:

Lithograph

Place made:

United States: New York, New York City

Date made:

1863

Subject:

Architecture  Search this

Eating  Search this

Patriotism and Patriotic Symbols  Search this

Chronology: 1860-1869  Search this

Pets  Search this

Uniforms, Military  Search this

Civil War  Search this

Furnishings  Search this

Baseball  Search this

Architecture, Domestic Buildings  Search this

Games  Search this

Dogs  Search this

Related event:

Civil War  Search this

Credit Line:

Harry T. Peters "America on Stone" Lithography Collection

ID Number:

DL.60.3741

Catalog number:

60.3741

See more items in:

Home and Community Life: Domestic Life

Clothing & Accessories

Military

American Civil War Prints

Art

Domestic Furnishings

Data Source:

National Museum of American History

GUID:

http://n2t.net/ark:/65665/ng49ca746a7-25f0-704b-e053-15f76fa0b4fa

EDAN-URL:

edanmdm:nmah_326070

Creator:

Macbeth Gallery  Search this

Subject:

Stuart, Gilbert  Search this

Weir, Robert Walter  Search this

Macbeth, William  Search this

McIntyre, Robert G. (Robert George)  Search this

Macbeth, Robert W. (Robert Walker)  Search this

Hartley, Marsden  Search this

Homer, Winslow  Search this

Type:

Daguerreotypes

Photographs

Scrapbooks

Citation:

Macbeth Gallery records, 1947-1948, bulk 1892-1953. Archives of American Art, Smithsonian Institution.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Theme:

Art Gallery Records  Search this

Art Market  Search this

Record number:

(DSI-AAA_CollID)9703

(DSI-AAA_SIRISBib)211939

AAA_collcode_macbgall

Theme:

Art Gallery Records

Art Market

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211939

Creator:

Macbeth Gallery  Search this

Names:

Hartley, Marsden, 1877-1943  Search this

Homer, Winslow, 1836-1910  Search this

Macbeth, Robert W. (Robert Walker), 1884-1940  Search this

Macbeth, William, 1851-1917  Search this

McIntyre, Robert G. (Robert George), b. 1885  Search this

Stuart, Gilbert, 1755-1828  Search this

Weir, Robert Walter, 1803-1889  Search this

Extent:

131.6 Linear feet

Type:

Collection descriptions

Archival materials

Daguerreotypes

Photographs

Scrapbooks

Date:

1947-1948

1838-1968

bulk 1892-1953

Summary:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

Scope and Content Note:

The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.

Arrangement:

The collection is arranged into eight series:

Missing Title

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)

Historical Note:

The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation that kept American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.

Related Material:

Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.

Provenance:

The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

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.

Topic:

Eight (Group of American artists)  Search this

Artists -- United States  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Daguerreotypes

Photographs

Scrapbooks

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.

Identifier:

AAA.macbgall

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9755cec30-3318-4f15-a7b7-031c448a7a46

EDAN-URL:

ead_collection:sova-aaa-macbgall