Collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily early railroad Americana, including interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design.
Scope and Contents:
The collection consists of approximately 13,500 images (original photographs, copy prints, and film and glass plate negatives) for freight, passenger, private, and street and rapid transit cars manufactured by the Pullman Palace Car Company. The collection contains primarily interior and exterior views of private and business cars as well as passenger and street cars. The collection is an important part of the historical record of the railroad car-building industry as well as the history of architecture and interior design. Historians, designers, railroad enthusiasts, model railroad hobbyists, scholars, and others will find this collection useful.
The glass plate negatives in this collection were produced using the wet collodion process, which was introduced to the United States in 1855 and used into the 1880s. The plates were coated with chemicals, sensitized, exposed and developed, all while the plate was wet. Later, Pullman photographers used the dry collodion process. This process involved using glass plates with a photographic emulsion of silver halides suspended in gelatin. This process had shorter exposure times.
George Pullman assembled a variety of photographers to document his company's work. The photography was primarily used as a record of work, especially for the Operating Department and Manufacturing Department at Pullman, as well as for prospective corporate customers.
Before establishing an in-plant photographic department in 1888, Pullman relied on local photographers. Some of the photographers included John Jex Bardwell, Wylie Dennison, Henry R. Koopman, J. W. Taylor, Thomas S. Johnson, Wylie Dennison, John P. Van Vorst, Clayton Ford Smith, Joseph McAllister, Melvin C. Horn, Ernie Stutkus, and Donald J. O'Barski. Many of the photographers signed the glass plates using their initials. For example, John P. Van Vorst signed his J.P.V.V.
Photography of Pullman activities began in the Detroit Shops (property of the Detroit Car & Manufacturing Co. which was purchased by Pullman in 1873 and operated as the Detroit Shops of Pullman) in the 1870s and expanded to include photographing the town of Pullman, steel car construction, shop accidents, workers, panoramic views, and in some instances, for company publications. In-plant photography was started with Wylie Dennison in 1888. Dennison was the first full-time Pullman photographer, and he created the Pullman Photographic Department. Dennison instituted the practice of recording each photograph, noting the negative number, description of the car, the type of view (typically one interior view and one exterior view) and lot number. All of Dennison's photography was done outside in the daylight.
The negative numbers assigned to the glass plates were identified with a "lot" number. The lot number identified the production order, and in later years, the plan number was added, designating the layout of the car. Photographing one car out of each new lot was the intital practice, but over-time, the Photographic Department began taking six or more views of the interior and exterior as well as end views.
Lot numbers include:
Lots 1 - 500 (Pullman Car Works - Chicago)
Lots 1 - 500 (Detroit Car Works)
Lots 500 plus (can be freight and passenger mixed)
Lots 1000 to 4999 (Pullman passenger equipment)
Lots 5000 to 5999 (Pullman freight equipment)
Lots 5000 + Haskell and Barker (Pullman overlap)
Lots 6000 to 7000+ (Pullman and P-S passenger)
Lots 8000 to 9999 (Pullman freight equipment)
Lots 10000+ (Pullman freight equipment)
Series 1, Original prints, circa 1880-1949, are arranged numerically by Pullman numbers. The original prints begin with number 7343 and end with number 33091. The photographs document Pullman cars, including freight, passenger, private, and street railway/rapid transit. Many of the images depict interior views of the cars, and there are some views of porters and passengers. There is some documentation of the workmen constructing the cars. The prints are primarily 8" by 10" black-and-white and were originally bound into books and backed on linen. The prints were unbound at some time. Many of the original prints bear an embossed stamp "Built by Pullman Car and Manufacturing Corporation Chicago." Some photographs are sepia-tone and there are no negatives for these prints.
Series 2, Copy prints, 1885-1955, consists of prints made from the glass plate negatives by the Smithsonian photographic services office. The copy prints were originally stored in loose binders but were re-housed into folders and arranged numerically according to the original Pullman Company number. The number is typically found in the lower right corner of the image. The copy prints are black-and-white and are either 5" x 7" or 8" x 10".
Series 3, Film negatives, 1917-1955, consists of film negatives (4" x 5" and 8" x 10") that are arranged numerically by Pullman numbers. In some instances, information on the enclosure includes the type of car (e.g. sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). In some instances, "repro," or "broken glass" are recorded. For negatives that did not conform to the Pullman numbering system, the container list provides additional information. For example, Haskell and Barker Car Company (Haskell and Barker merged with the Pullman Company in 1922) machine shop views, or Pullman cars in St. Paul, Minnesota are recorded in the collection inventory listing.
Series 4, Glass plate negatives, [circa 1882-1948], is divided into two subseries, Subseries 1, 6" x 8" negatives and Subseries 2, 8" x 10" negatives. The series consists of approximately 13,500 glass plate negatives arranged by Pullman Company negative number. The negatives document primarily Pullman cars, including freight, passenger, private and street railway/rapid transit. Many of the images depict interior and exterior views of the cars and some views of porters and passengers. The interior views include details such as seating, window treatments, lighting fixtures, bathroom fixtures, wood paneling, marquetry work, fabrics, floor treatments, and other furnishings. There is some documentation of the construction of the cars by workmen in the factory.
The negative numbers and lot numbers are etched on the glass plates. Overall the series is in good condition, although there are some broken plates which have been separated. The negatives are not inclusive and some plates are missing, or there are two copies. If plates are missing or additional copies exist, this is noted in the collection inventory. In some instances, plates are labeled 3937 and then 3937-A. This numbering distinguished two different views/angles of the same car.
Many of the envelope enclosures contain the negative number, sometimes preceed by the letter "P" (e.g. P9597), lot number (L4700), and in some instances, text describing the negative. Text typically includes the type of car (sleeper, freight), the name of the car if applicable, name of railroad company, geographical information, and date(s). If a copy print was created from the negative plate, the enclosure is stamped "printed." However, this practice was not consistent. Plates that were not printed are occasionally noted, but not with any consistency.
The 6" by 8" glass plates numbered 82-4130 to 82-4167, represent numbers assigned by the Office of Photographic Services, Smithsonian Institution. Previously labeled "Pullman" on the enclosures, the plates primarily document engines and passenger cars for the New York, New Haven, & Hartford Railroad, 1870-1890 and undated. The plates do not have Pullman negative numbers etched in the lower left or right corners and it is unclear if these plates belong to this collection.
Series 5, Indices, 1990 and undated include bound, typescript indices to the Pullman negatives. Created by the National Museum of American History, Division of Transportation (now known as the Division of Work and Industry), the indices include listings by railroad, private cars, freight cars, street cars and rapid transit, and Pullman negatives. The indices provide the name of the railroad/railway (e.g. Chicago & Alton), type of car (e.g. coal car or box car), number, lot, remarks (e.g. baggage area), year, type of view (e.g. exterior or interior) and frame number (for the laser disc).
One index is a supplemental guide listing sepia tone prints for which no negative exists in our collection. The indices for the negative listings on laser discs one and two are available. However, the actual lasers discs are missing.
References
Horn, Don. "The Pullman Photographers," Railroad Heritage, No. 7, 2003, pp. 5-13.
Arnold, Rus. "This Negative File was a Sleeper." Technical Photography. May 1970, pp. 21-XX.
Pullman State Historic Site, http://www.pullman-museum.org/theCompany/timeline.html (last accessed April 18, 2011)
Arrangement:
The collection is arranged into five series.
Series 1, Original prints, 1904-1949
Series 2, Copy prints, 1885-1955
Series 3, Film negatives, undated
Series 4, Glass plate negatives, circa 1882-1948
Series 5, Indices, 1990 and undated
Biographical / Historical:
Recognizing a market for luxurious rail travel, George M. Pullman, who had earlier
experimented with sleeping car construction and was wealthy from the provisioning and transporting of Colorado miners in the early 1860s, incorporated the Pullman's Palace Car Company in 1867. By the 1870s his operations were already national and included the operation of sleeping cars under contract with the nation's railroads, the manufacture of cars at the Detroit Works, and the creation of subsidiary firms serving Great Britain and Europe. In the three decades before the turn of the century, the prosperous company grew enormously and included a much heralded model company town adjacent to the new car works at Pullman, Illinois. Acclaim turned to condemnation following the nationwide strike that originated at the Pullman Car Works in 1894. Pullman died in 1897, two years before his company absorbed its last major competitor, the Wagner Palace Car Company, which had been financed by the Vanderbilts.
The Pullman's Palace Car Company entered the twentieth century with a new name, the
Pullman Company, and a new president, Robert Todd Lincoln. An extremely profitable
virtual monopoly, the Pullman Company began replacing its wood cars with safer all steel bodied models (heavyweights) in its newly segregated manufacturing department and at the same time (1906) came under the regulation of the Interstate Commerce Commission. From 1918 to 1920, the United States Railroad Administration, citing the war emergency, assumed control of the operating arm of the firm, renamed the Pullman Car Lines for the duration of federal control.
The Pullman Company reached its peak during the 1920s, manufacturing new heavyweight
cars at a rapid pace. Seeking to expand its freight car production, Pullman merged with the Haskell and Barker Car Company in 1922. Edward F. Carry and his Haskell and Barker associates assumed the presidency and other executive positions in the enlarged Pullman Company. More reorganization took place in 1924, when the Pullman Company Manufacturing Department became a distinct firm, the Pullman Car and Manufacturing Corporation, and in 1927, when a parent or holding company, Pullman Incorporated, was created to oversee the two subsidiary firms. In 1929, following Carry's death, President David A. Crawford engineered the merger of the Pullman Car and Manufacturing Corporation with the Standard Steel Car Company, forming the Pullman-Standard Car Manufacturing Company.
During the first three decades of the twentieth century Pullman sought to impede the
unionization of its workers by offering new benefits, including a pension plan in 1914, a death benefit plan in 1922, and a plan of group insurance in 1929. F. L. Simmons' Industrial Relations Department, created in 1920, also directed the formation of company-sponsored occupationally-based unions under the plan of employee representation. A. Philip Randolph's Brotherhood of Sleeping Car Porters and other unions would not successfully organize company workers until the New Deal Railway Labor Act of 1934 forbade corporate interference in union matters.
The Depression marked the end of Pullman prosperity. Both the number of car orders and sleeping car passengers declined precipitously. The firm laid off car plant and service workers, reduced fares, and introduced such innovations as the single occupancy section in an effort to fill its cars. During this decade the firm built fewer new cars, but it added air conditioning to its existing heavyweights and remodeled many into compartment sleepers.
In 1940, just as orders for lightweight cars were increasing and sleeping car traffic was growing, the United States Department of Justice filed an anti-trust complaint against Pullman Incorporated in the U. S. District Court at Philadelphia (Civil Action No. 994). The government sought to separate the company's sleeping car operations from its manufacturing activities. In 1944 the court concurred, ordering Pullman Incorporated to divest itself of either the Pullman Company (operating) or the Pullman-Standard Car Manufacturing Company (manufacturing). After three years of negotiations, the Pullman Company was sold to a consortium of fifty-seven railroads for around forty million dollars. Carroll R. Harding was named president of this new Pullman Company. The new Pullman Company started out optimistically in 1947 with good passenger traffic figures, but the years following brought steady and marked decline. Regularly scheduled lines were cancelled; all shops except St. Louis and Chicago were closed; employees were furloughed, and major railroad owners such as the New York Central and Pennsylvania Railroad totally or partially withdrew from service. On January 1, 1969, at the age of 102, the Pullman Company ceased operation, though it maintained a small central office staff to wind up affairs and handle an equal pay-for-equal-work lawsuit (Denver Case) that continued in the courts until 1981.
John H. White (1933-), historian and curator, collected the Pullman photographs in 1969. White was born in Cincinnati, Ohio, and graduated with a bachelors of arts in history from Miami University Ohio in 1958. Shortly after receiving his degree, He joined the staff of the Smithsonian Institution as Assistant Curator of the Division of Transportation, Department of Science and Technology, Museum of History and Technology. White later became Associate Curator of the Division, 1961-1966, Curator, 1967-1985, and Senior Historian, 1986-1989. White specialized in land transportation, particularly the history of railroads.
White worked closely with Arthur Detmers Dubin (1923-) to acquire the Pullman photographs for the museum. Dubin was an avid train enthusiast and collector, and he frequently used the Pullman "archives" for his own research on railroads. Dubin was born in Chicago, Illinois and began his architectural education at the University of Michigan in 1941 but his education was interrupted by World War II, and he served with distinction in the United States Army until 1946. After completing his studies in 1949, Dubin joined his father's and uncle's architectural firm, Dubin and Dubin, as a second--eneration architect. The leadership of the firm soon passed to Arthur and his brother, Martin David, and in 1965 they were joined by John Black and in 1966 by John Moutoussamy. Arthur's life--ong interest in trains and transportation and their implications for architecture is evident in transit stations commissions and service on transportation--elated advisory boards (Dubin was a member of the Illinois Railroad Commission), as well as in his writings and personal collections.
In July, 1966, Dubin contacted then Vice President of Public Relations at Pullman-Standard E. Preston Calvert about the history and future of the photographic negative plates. Dubin appealed to Calvert to preserve these materials. Dubin and White were also in contact by correspondence and in June, 1967, White contacted Calvert also, stating that the Chicago Historical Society or Illinois State Historical Society should be offered the plates as a first option. Failing a local Illinois repository accepting the materials, White indicated that the Smithsonian would accept the negatives.
During the spring of 1968, White, working with Dubin and Nora Wilson, editor of the company's publications, coordinated a visit by White to Chicago to examine the photographic negatives at the Pullman Car Works factory in south Chicago. In April 1968, White examined the vast collection of glass plate negatives (approximately 20,000). From April, 1968 to August, 1969, Pullman-Standard and the Smithsonian negotiated acquisition details, including shipping and related costs. In August, 1969, White returned to complete the task of sorting the glass plates, discarding broken plates, and weeding repetitive views. He selected approximately 13,500 glass plates. Views of Pullman towns were donated to the Chicago Historical Society. Dubin appraised the photographic plates and film negatives, presumably on behalf of Pullman-Standard, and estimated the plates to be worth between $54,000 and $67,500 dollars.
References
Historical note courtesy Martha T. Briggs and Cynthia H. Peters, Guide to Pullman Company Archives, The Newberry Library, Chicago, 1995.
Art Institute of Chicago, Chicago Area Architects Oral History Project
http://www.artic.edu/aic/resources/resource/734?search_id=1 (last accessed on February 23, 2011)
John H. White papers, 1959-1989, Record Unit 007384, Smithsonian Institution Archives, Washington, D.C.
Telephone conversation of Alison Oswald, archivist, with John H. White, April 14, 2011.
Related Materials:
Materials in the Archives Center
Pullman Palace Car Company Materials, 1867-1979 (AC0181)
John H. White, Jr. Railroad Reference Collection, 1880s-1990 (AC0523)
Materials in Other Organizations
•Art Institute of Chicago
•Bombardier Corporation
•California State Railroad Museum
•Chicago History Museum
•Arthur Dubin Collection at Lake Forest College
•Illinois Railway Museum
•Indiana University Northwest's Calumet Regional Archives
Pullman-Standard Railroad Car Manufacturing Company Personnel Records—Personnel Record Series CRA 314
This index of employee names was created from the original personnel cards housed at Indiana University Northwest's Calumet Regional Archives from the Indiana locations. Although the records are not complete from the Michigan City plant for the entire period from 1912 to the 1970's, there may be information that will assist researchers with finding key details of a family member. The Hammond Pullman plant was merged with the Haskell Barker Company of Michigan City in 1922.
•Newberry Library, Chicago
The Pullman Company archives at the Newberry Library consists of 2,500 cubic feet of records from the Pullman Company and Pullman heirs. The collection is comprised of business archives of the Pullman Palace Car Company from 1867 and includes records of the entire firm up to the 1924 split into operating (sleeping car operation, service, and repair) and manufacturing companies. From 1924 to 1981 the records chronicle the activities of the operating company only.
•Pennsylvania State Archives
•Pullman State Historic Site
•Pullman Technology (Harvey, Illinois)
•Smithsonian Institution Archives
•South Suburban Genealogical & Historical Society (South Holland, Illinois)
Provenance:
The collection was donated by Pullman-Standard Company, through Nora Wilson, editor of employee publications for the Department of Public Relations and Advertising, on October 8, 1969.
Restrictions:
Collection is open for research but is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
A collection of films shot by Harry B. Bergman documenting Bergman's New York City, New York construction firm Godwin Construction Company. Films document construction of landmark buildings such as The Chrysler Building, New York Port Authority and others. Films also document company "beefsteaks", and Bergman's numerous vacations and pursuits.
Scope and Contents:
The Kahn Family Films document the activities of the Godwin Construction Co. of New York City from 1928-1934. The films also document more than twenty-five years of the Bergman and Kahn family life and travel. The films are silent, 16mm black and white reversal and Kodachrome. Unless otherwise noted, films were arranged in the Archives Center on compilation reels by subject. Some images are deteriorated because of age and film conditions, most noticeably on 722.39. A detailed description of each reel is included under each film title. The collection is divided into five series and arranged in chronological order;
Series 1, Godwin Construction Company, 1927-1934; documents the digging, structural support and daily site activities at various Godwin construction jobs around New York City. In the footage taken at the Chrysler Building site, Bergman documented many of the workers who worked on the job as well as the secretaries in the main offices with filmed portrait shots. While the films are primarily focused on documenting construction practices and procedures at the sites, there is also footage of workmen and machinery. The films also document the company=s annual ABeefsteak@ that eventually moved from a banquet hall to one of the islands in Jamaica Bay.
Series 2, Rockaway Park Yacht Club, 1927-1929; documents many of Bergman's yachting activities on the yacht Thora and events at the Rockaway Park Yacht Club (RPYC) from family related activities to some of the Godwin Company's Beefsteaks.
Series 3, Travel and Leisure, 1926-1957, undated; documents many of the Bergman and Kahn family trips to various locations in the United States and Europe. The 1927 trip to Canada and the American West has footage of Hollywood, then just on the verge of adding sound to motion pictures. The 1929 trip to Europe occurred not only during the first year of the Great Depression but is a wonderful travelogue of Europe in the years before WWII. On reel 722.27 there is an interesting shot of a poster, "Ethel et Julius Rosenberg Que Les Assassins, Soient Maudits A Jamais" [trans: Ethel and Julius Rosenberg let the assassins be cursed/condemned forever.] showing a young boy throwing mud on the poster - presumably in protest.
Series 4, Family and Home Life, 1928-1958; Titles of the footage are taken directly from the original film containers. There is footage of many family members and gatherings. There is footage shot at Bergman's onetime home at 120-18 Newport Ave., Rockaway Park, Long Island. There is footage of tennis great Bill Tilden giving a small exhibition match in Florida in 1946 on 722.25.
Series 5, Papers, 1927-1958; are selections of the original paper containers for some of the films with the original notes and identifications written on them. This series also contains a copy of Bergman's 1907 thesis and related papers and architectural drawings.
Arrangement:
5 series.
Biographical / Historical:
Harry Montefiore Bergman (1885-1971) was born on August 3, 1885 in Elmira, New York. He graduated from college in 1907 with a degree in Applied Science from Columbia University's School of Engineering. After graduation, he went to work for Godwin Construction Co. He specialized in structural foundations and was an authority on the soil and bedrock of Manhattan Island, New York. Beginning his employment as a superintendent, he rose to the position of Secretary and General Superintendent of Civil Engineering in June, 1927. In January 1932, Bergman was elevated to Vice-President and finally attained the presidency of the company in 1957. Bergman retired from the company in 1967. He was a member of the Association of American Society of Civil Engineers.
Godwin Construction Company was founded by Philander Hanford Godwin (1877-1936) in the early 20th century. Godwin was one of the pre-eminent civil engineering firms in New York City primarily involved in constructing foundations for large public building projects. The company was responsible for digging and construction of the foundations for the Chrysler Building, 176th St. Telephone Building, the old New York Port Authority Truck Terminal, the old Madison Square Garden at 8th Ave. and 50th St., the Hudson River Bridge, New York Hospital, Knickerbocker Village and others. Godwin Construction Co. was located in New York City, through the years at various locations: by 1915 at 251 4th Ave., by 1932 at 370 Lexington Ave., Rm. 1201 and later at 130 East 44th St.
Bergman, a lifelong bachelor, developed a love of motion picture photography and pursued this hobby with great enthusiasm. He photographed not only Godwin's construction work and work sites at various foundation projects throughout New York City in the 1920s and 1930s but filmed the company picnics, called "Beefsteaks", family leisure time activities and vacations as well. Bergman was also an avid yachtsman and filmed many hours of footage while sailing on Samuel Lauterbach's yachtThora , (the Thora may also have been owned in a partnership between Lauterbach and Bergman) and at the Rockaway Park Yacht Club (RPYC) in Rockaway Park, New York. Bergman, along with Lauterbach, was one of the founders of the RPYC and it was reportedly founded because Jews were not allowed membership in any of the "exclusive" yacht clubs surrounding Manhattan. The yacht club was destroyed during the hurricane of 1938. Many films feature Ruth Perl who was Bergman's favorite niece. They took numerous trips to California, Canada, and Europe. Perl seems to also have taken an interest in motion picture photography as well, often operating the camera herself. Perl married Irving Kahn and had three sons, Donald Kahn, Alan R. Kahn and Thomas G. Kahn, who figure prominently in the later films. Bergman was a lifelong resident of New York. As of 1916, his address was 615 W. 143rd St., New York, NY. For a time he lived at 120-18 Newport Ave. in Rockaway Park, NY. In 1951 he bought a home at 143-17 Cronston Avenue in Belle Harbor. At the end of his life, Bergman is noted as living at 1 Fifth Avenue, New York, NY. Bergman died on August 3, 1971. At the time of his death Bergman was staying at the Florence Nightingale Nursing Home, 175 East 96th St. in New York, New York.
Bergman's employer and the founder of Godwin Construction Co., Philander H. Godwin, was born on September 30, 1877 in New York City, NY. Godwin graduated from Columbia University's School of Engineering with a degree in Applied Science in 1899. After graduation, he married Carrie L. Pye and they had two children. Godwin founded the Godwin Construction Co. in the early 20th century and was the company's president until his death in 1936. As of 1916, his residence address was Cedar and Arch Avenues in Larchmont, NY and by the time of his death he was living at 26 Willow Avenue in Larchmont. He was a member of the Larchmont Yacht Club and perhaps had a great influence on Bergman's taking up the sport. He was an active member of St. John's Episcopal Church, Larchmont and a member of the Union League. Godwin died on March 27, 1936 in Larchmont.
Sources: Records of Columbia University, New York, New York
"City Sells 2 Plots for Factory Sites", New York Times, June 6th, 1951, pg. 64.
Newspaper Obituary of Harry N. Bergman, Archives Center Control File
Conversation and correspondence with Alan and Kimberly Kahn
My Life: Edward du Moulin
Provenance:
Donated to the National Museum of American History, Archives Center in 2000 by Kimberly R. Kahn, great-great niece of Harry M. Bergman.
Restrictions:
Collection is open for research but the original and master (preservation) films are stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.
Rights:
The National Museum of American History may not authorize publication, reproduction, or distribution by a commercial, for-profit publisher, distributor, media producer, or film maker without the express permission of the Donors.
The term of the requirement for written authorization prior to third party, for-profit, commercial use will last 50 (fifty) years unless agreed to in writing by both the National Museum of American History and the Donors.
The Alexander Robertson James papers measure 3.9 linear feet and date from circa 1885-1986. They illustrate his career through biographical materials, correspondence, writings, personal business records, printed and photographic materials, and artwork.
Scope and Contents:
The Alexander Robertson James papers measure 3.9 linear feet and date from circa 1885-1986. Biographical materials include several passports for Alexander and Frederika James, a marriage certificate, and a family genealogy. Correspondence is to and from James and is with family and professional colleagues. Writings include several diaries by James, his mother, and Frederika, as well as a notebook containing descriptions of his gesso technique, Frederika's notes on her husband's paintings, and an account of the family's time in Paris. Personal business records consist of James' name change application and certificates and his last will and testament, as well as files regarding commissions, various exhibitions, and multiple expense legers. Also included are art valuations by an insurance company and records of art sales.
Printed material contains exhibition catalogs, various art publications, and news clippings. Photographic material includes photographs of James and his family, his studio, and his artwork, as well as a photograph album of William James and other family members. There are also two albums of exhibition photographs, and photographs of two sketches, one by John Singer Sargent and one by Barry Faulkner. Artwork includes various loose sketches, five sketchbooks, an oil portrait of James' father, three watercolors of Giverny, France, three pigment studies, and sketches of James.
Arrangement:
This collection consists of seven series.
Series 1: Biographical Material, circa 1916-1937 (.1 Linear feet: Box 1)
Series 2: Correspondence, circa 1893-1983 (1.7 Linear feet: Boxes 1-2)
Series 3: Writings, circa 1907-1955 (.2 Linear feet: Box 2)
Series 4: Personal Business Records, circa 1912-1978 (.8 Linear feet: Box 3)
Series 5: Printed Material, circa 1916-1986 (.1 Linear feet: Box 3)
Series 6: Photographic Material, circa 1885-1986 (.5 Linear feet: Boxes 3-5)
Series 7: Artwork, circa 1897-1940 (.5 Linear feet: Boxes 4-6)
Biographical / Historical:
Alexander Robertson James (1890-1946) was a painter who worked primarily in Dublin, New Hampshire.
James was born in Cambridge, Massachusetts as Francis Temple Tweedy James to philosopher William James and was the nephew of noted writer Henry James. He studied at the Boston Museum School under Frank W. Benson, before marrying Frederika Paine in 1916 and moving to California. While in California James was met with many portrait commissions, however after two years he moved to Dublin, New Hampshire under the suggestion of his mentor Abbot Thayer in 1918. In 1925 he had his name officially changed to Alexander Robertson James. Later in life he dropped the Robertson and became Alexander James.
During the depression, the family moved to Paris, France in 1929 before moving again to the suburb of Ville d'Avrey. In 1930, the family returned to Dublin and in 1931 James took a reprieve of one year to live in Richmond, New Hampshire to paint portraits. From 1930 to 1937, James focused on portrait painting and his most famous works include George de Forest Brush and Portrait of a Professor. James remained in Richmond, where his wife and three children visited on weekends, until returning to Dublin in 1942. In the last years of his life, he built a studio behind his Dublin home which was completed in 1945. James would die soon after.
James is also well known for his impressionist inspired landscapes and genre scenes and was a long time exhibitor at the Art Institute of Chicago as well as the Pennsylvania Academy of the Fine Arts and the Corcoran Gallery of Art. He was a member of the Century Association and today his works can be seen at the Boston Museum of Fine Arts, the Springfield Museum of Fine Arts, and the Nelson-Atkins Museum of Fine Art in Missouri.
Alexander Robertson James died of a heart attack on February 26, 1946.
Related Materials:
The Archives of American Art also hold, on microfilm reel 3828 only, a bound volume containing thirty-seven letters from William James to his youngest son, Alexander James, one letter from his mother, Alice Howe Gibbens James, and eleven postcards.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reel 4195) including original letters from William James (1842-1910) to Alexander James. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
A bound volume containing thirty-seven letters from William James to his youngest son, Alexander James, one letter from his mother, Alice Howe Gibbens James, and eleven postcards were lent for microfilming by Michael James, the son of Alexander James, and returned in 1986. The bulk of the microfilmed material and additional papers were donated in 1986 by Michael James.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
Authorization to publish, quote, or reproduce materials on reel 3828 requires written permission from Alexander R. James, Glandore, County Cork, Ireland. 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.
Alexander Robertson James papers, circa 1885-1986, Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The papers of Joseph Cornell (1903-1972) measure approximately 24.9 linear feet and date from 1804 to 1986 with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers. The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.
Scope and Content Note:
The Joseph Cornell papers measure approximately 24.9 linear feet and date from 1804 to 1986, with the bulk of the material dating from 1939-1972. The collection documents the life, work, interests, and creative activities of the self-taught artist, who was best known for his shadow box constructions, assemblages, and collages. Papers include correspondence, diaries, source material, notes, writings, photographs, printed material, two- and three-dimensional ephemera, art works, and books, as well as a limited amount of legal and financial records, and some miscellaneous personal and family papers (which comprise a series of biographical material). The collection also includes the papers of his sister, Betty Cornell Benton, relating to the handling of Cornell's estate and the personal papers of his brother, Robert Cornell.
Cornell's correspondence is typically with family, friends, artists, dealers, collectors, galleries, museums, admirers, individuals whom he admired, "helpers," and various charitable institutions. Correspondence generally concerns the creation, exhibition, sale, and reception of Cornell's art work; his "explorations" and other research and collecting activities; his preoccupations with certain individuals and motifs; his usual practices of giving gifts of art work to those he liked or admired and making donations to charities in aid of those less fortunate; and his relationships and shared interests with family, friends, and colleagues. Also found is correspondence between and amongst various other members of the Cornell family, including, most notably, Robert Cornell's letters to his sisters, Elizabeth (typically addressed as Nell) and Helen.
Dating from 1941 to 1972, Cornell's diaries span almost the entirety of his career as an artist, which began in earnest when he left his job at the Traphagen textile studio in 1940 to pursue art full-time and ended with his death in 1972. The diaries record his day-to-day experiences (usually comprising his thoughts, feelings, impressions, and ideas); and reflect on his various art projects (boxes, films, and collages) and creative activities ("explorations," and various other research, collecting, and publishing ventures). They also explore many of the themes and underlying concerns of his art work; and document his intense preoccupations with certain individuals, his wide-ranging interests, and the interconnectedness of his ideas and activities. Cornell's style of writing in the diaries tends to be stream-of-conscious with entries being composed of phrases, rather than complete sentences and with the progression of passages being more poetic and associative than either logical or narrative. He tended to compose by hand, occasionally typing up his notes into more formal entries, and also to use abbreviations for oft-repeated words and initials for individuals. At times, his handwriting can be difficult to read, and his references can be difficult to decipher. It was also common practice for him to review or revisit previous entries at various points in time, often making revisions or comments on them with dated annotations in the margins or on the reverse side of a page.
Cornell's source material is largely comprised of files of newspaper and magazine clippings, cutouts, notes, writings, book excerpts, photostats (or stats), prints, postcards, art reproductions, and other printed material. Some files are devoted to people (ballerinas, actresses, singers, artists, and writers) and topics (astronomy, romantic and modern ballet, birds, films, literature, music, plants, and science, among others). Other files relate to specific art works, "explorations," publishing projects, and exhibitions. Source material documents Cornell's preoccupation with certain individuals (past and present), events, subjects, and motifs; the development of some of his major "explorations" and their influence on his various artistic and commercial projects; and his work on certain box constructions and collages, publishing ventures, and exhibition catalogues. Source material also sheds light on Cornell's efforts to gain access to the past; his interest in the symbolism of images and objects; the linkages he found between seemingly unrelated things; and the connections between his many creative endeavors.
Ephemera and artifacts include various objects, mementos, and items of memorabilia, some of which were accumulated by Cornell (in much the same way that he collected his source material) and some of which are of uncertain origin. For Cornell, items such as these were not merely inanimate objects, but were instead evocative of past worlds and capable of bringing the past into the present (an idea which he often expressed in his diaries as the "metaphysique d'ephemera"). He seems to have used some of these items in a layout he designed for Good Housekeeping. Other items may have been used as source material for some of his box constructions.
The collection also houses photographs of Cornell, his family, art work, other artists, and friends, as well as photographs taken by various individuals and publicity photographs from the New York City Ballet. Also found are scattered works of art, including collage fragments and Rorschachs (or ink blot drawings) by Cornell, collages by Cornell's sister, Betty Cornell Benton, on which he collaborated, and a box by Christine Kaufman, which was a gift to Cornell. The books in the collection most likely comprise the remainder of Cornell's library, which was transferred to the Joseph Cornell Study Center, and include some that seem to have belonged to his sister, Betty. Printed material includes various publications and clippings collected by Cornell apart from that which he collected as source material. Writings about Cornell include an article by the poet, Mina Loy, and copies of various theses, presentations, and articles by graduate students in art history received by Benton (who assisted them in their research).
The Joseph Cornell Estate Papers consist of correspondence relating to Betty Cornell Benton's administration of the part of Cornell's estate for which she was responsible and legal documents relating to her various legal disputes with the executors of the estate, as well as a limited amount of printed material, some of which was originally accumulated by Cornell and subsequently shared with Benton, and miscellaneous papers belonging to Benton and their mother, Helen S. Cornell. Estate Papers provide insight on the exhibition and sale of Cornell art works after his death; the disposition of his belongings (including art work, papers, books, records, and source material); and Benton's efforts to foster and safeguard the memory and legacy of Cornell. The Robert Cornell Papers include correspondence, writings, art works, photographs, printed material, and scattered financial and personal records, documenting the full and creative life Robert led despite being confined to a wheelchair. Their inclusion in the collection suggests the family's effort to foster Robert's memory.
Arrangement:
The collection is arranged into eleven series:
Missing Title
Series 1: Biographical Material, 1918-1972, 1975 (Box 1; 0.8 linear feet)
Series 2: Correspondence, 1909-1982 (Boxes 1-5, OV 31; 4.3 linear feet)
Series 3: Diaries, 1941-1973 (Boxes 6-10; 5 linear feet)
Series 4: Source Material, 1804-1972 (Boxes 11-18, 25-28, OV 29; 8.5 linear feet)
Series 5: Ephemera and Artifacts, 1858-1946 (Boxes 18, 23; 0.8 linear feet)
Series 6: Photographs, circa 1905-1972 (Boxes 18, 28, OV 30; 0.3 linear feet)
Series 7: Art Works, circa 1966-1971 (Boxes 19, 23; 0.2 linear feet)
Series 8: Books and Printed Material, 1806-1968 (Boxes 19, 23; 0.5 linear feet)
Series 9: Writings about Cornell, 1950, circa 1975-1980 (Box 19; 0.3 linear feet)
Series 10: Joseph Cornell Estate Papers, circa 1911, 1944-1986 (Boxes 19-22; 3.5 linear feet)
Series 11: Robert Cornell Papers, 1924-1965 (Boxes 24, 28; 0.4 linear feet)
Biographical Note:
Joseph Cornell, assemblagist, collagist, and filmmaker, was born on December 24, 1903 in Nyack, New York. He was the oldest son of Joseph I. Cornell, a textile salesman and designer, and Helen Storms Cornell, and had two younger sisters, Elizabeth (b. 1905), nicknamed Nell and later Betty, and Helen (b. 1906), and a younger brother, Robert (b. 1910), who suffered from cerebral palsy. Cornell shared close relationships with his siblings, and was especially attached to his brother whom he took care of as an adult. His fondest childhood memories included family Christmas celebrations, outings to Manhattan where he saw vaudeville shows and strolled around Times Square, and trips to Coney Island where he encountered penny arcade machines. These childhood memories, among others, inspired some of the themes later explored in his art work.
After his father's death in 1917, Cornell was sent to study at the Phillips Academy in Andover, Massachusetts. He remained there for four years, but left without receiving a diploma. During this time, the family moved from Nyack to Bayside, Queens, where they lived in a series of rented houses. Cornell rejoined his family in 1921, at which time he went to work as a salesman in the Manhattan office of a textile wholesaler, the William Whitman Company. He joined the Christian Science church in the mid-1920s, and in 1929, the family bought a house at 37-08 Utopia Parkway in Flushing, where he resided for the rest of his life, living there with his mother and brother after both his sisters married and moved away.
During the 1920s, Cornell developed his passion for walking the city streets and taking in their sights, sounds, and impressions; browsing in the secondhand bookshops along Fourth Avenue; and collecting material such as books, prints, postcards, and printed and three-dimensional ephemera. He cultivated his growing interest in culture and the arts by attending opera and ballet performances, seeing plays (the 1922 play Rain, which starred Jeanne Eagels, was among his favorites), visiting galleries and museums, reading, and going to the movies.
In 1931, Cornell began to frequent the Julien Levy Gallery, where he encountered Surrealist art for perhaps the first time. Around this time, he created his first works of art - a series of black-and-white collages composed from cutouts of nineteenth-century engravings - inspired by Max Ernst's collages, in particular his collage-novel, La Femme 100 tetes (1929). Cornell went on to create three-dimensional works of art such as pill boxes and a glass bell series (consisting of objects arranged under a bell jar). His work, including several collages and a glass bell, was first exhibited as part of the groundbreaking "Surrealisme" show at the Levy Gallery in January 1932. He also designed the cover of the show announcement. His first one-man show at the gallery, "The Objects of Joseph Cornell," followed in the fall of 1932. (It was seven years before his next solo show.) By this time, Cornell had been laid off from his job at Whitman's. He was out of work for several years before getting a job as a textile designer at the Traphagen Commercial Textile Studio in 1934. During the next several years, he continued to work on his art at night.
Around this time, Cornell began collecting movies and movie stills, and embarked upon various film-related projects. In 1933, he wrote a scenario for a silent movie, Monsieur Phot. A few years later, he made his first film, Rose Hobart (1936), comprised of re-edited footage from the B-movie, East of Borneo (1931), which starred the actress, Rose Hobart. And he began work on a trilogy of collage-films - The Children's Party, Cotillion, and The Midnight Party (circa 1937). He then took a break from making films until the mid-1950s, but continued to collect film-related material, which he began to incorporate into his other art work.
In 1936, Cornell constructed his first glass-fronted shadow box, Untitled (Soap Bubble Set), which was included that same year in the "Fantastic Art, Dada and Surrealism" exhibition at the Museum of Modern Art, along with a cabinet box and several glass bells. In creating some of his other early boxes, he began the practice of using photo reproductions of images which he located in books and magazines, or in the Picture Collection at the New York Public Library, among other places. In his tribute boxes to actresses (1930s), he made use of publicity shots, and in the box, Dressing Room for Gilles (1939), he employed a photostat (or stat) of a reproduction of Jean-Antoine Watteau's painting, Gilles (1718).
Over the years, Cornell came into contact with various figures of the art, dance, and literary worlds. In the 1930s and 1940s, he met the artists, Max Ernst, Marcel Duchamp, and Salvador Dali, and befriended the artists, Lee Miller and Dorothea Tanning. His formative friendships during 1940s were with the artist, Pavel Tchelitchew, the writers, Charles Henri Ford (founder of the avant-garde periodical, View), Parker Tyler, and Donald Windham, and the balletomane, Lincoln Kirstein (founder of Dance Index). His other friends included the artists, Roberto Matta Echaurren and Robert Motherwell, the dancer and actress, Tilly Losch, and the poets, Mina Loy and Marianne Moore. In the 1950s, he associated with artists from the Abstract Expressionist movement, including Willem de Kooning, Jack Tworkov, and Mark Rothko. Beginning in the mid-1950s, he befriended many young artists, including Lee Bontecou and Carolee Schneeman, and young actresses, including Lois Smith, Gwen Van Dam, and Suzanne Miller, whom he sought to appear in his films. And in the early 1960s, he met the Pop artists, Robert Indiana, James Rosenquist, and Andy Warhol.
Beginning in 1940, Cornell developed a keen interest in dance, particularly ballet. Ballerinas from the Romantic era, such as Marie Taglioni and Fanny Cerrito, especially captured his imagination, inspiring such works as the box, Taglioni's Jewel Casket (1940), and the Portrait of Ondine "exploration," which comprised a portfolio of material relating to Cerrito and her famous role in the ballet, Ondine. Cornell was also fascinated with the modern counterparts of the Romantic ballerinas. In 1940, he befriended the Russian ballet dancer, Tamara Toumanova, and over the years produced many works in homage to her, including swan boxes (inspired by her role in Swan Lake), boxes made with scraps from her costumes, and scrapbooks of clippings, stats, and memorabilia. In 1949, he became enamored of the French dancer, Renee "Zizi" Jeanmarie, after seeing her perform in Carmen and meeting her backstage, and he created several dance-related boxes in her honor. In 1957, he met the ballerina, Allegra Kent. After meeting again in 1964, they became friends, and she served as the subject of several works based on images reproduced from a Parmigianino painting.
In December 1940, Cornell left his job at the Traphagen textile studio to pursue art full-time. He set up a workshop in the basement of the house on Utopia Parkway, which served as a combination studio and storage space. While he spent most days at home, he continued to make regular trips into Manhattan to wander around the city, visit with friends, and hunt for material. Around this time, he began to keep a diary, recording his day-to-day experiences (usually comprising his thoughts, feelings, impressions, ideas) on scraps of paper (including used envelopes, paper bags, napkins, and ticket stubs, among other fragments). He would then type up some of these notes into more formal diary entries, but most of them remained, in his word, "scribblings." Diary keeping eventually became one of his primary activities, along with box construction, collage, research, and collecting.
By this time, his art work was beginning to sell, yet he was not able to live from these sales alone. During the 1940s, he primarily supported himself by doing freelance work for magazines such as Vogue, Harper's Bazaar, and Good Housekeeping, supplying illustrations from his picture collection and designing covers and layouts. He also regularly contributed pieces to View and Dance Index. His notable contributions to View included "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (December 1941), "Story Without a Name - for Max Ernst" (April 1942), and "The Crystal Cage [portrait of Berenice]" (January 1943). His projects for Dance Index included various collage-covers, essays, and thematic issues, such as the Summer 1944 issue, which comprised a 22-page tribute to the Romantic ballerinas, Taglioni, Carlotta Grisi, Cerrito, and Fanny Elssler. To supplement his income, Cornell also held brief positions at an electronics plant, the Allied Control Company, Inc. (in 1943), and at a nursery, the Garden Centre (in 1944).
In 1942, Cornell created one of his more memorable works, Medici Slot Machine, embarking upon a large series of Medici boxes in which he utilized reproductions of portraits by Italian Renaissance artists, such as Sofonisba Anguissola and Pinturicchio. His other boxes from this time period explored themes ranging from ballet, as in A Pantry Ballet (for Jacques Offenbach) (1942), to doomed love, as in Paolo and Francesca (1943-48), to nature, as in the Sand Boxes (1940s) and Sand Fountains (1950s). Cornell often created boxes in series, producing variations on a theme with variants that differed significantly or only slightly. Over the years, series included: Pink Palaces, Pharmacies, Habitats, Aviaries, Dovecotes, Hotels, Observatories, and Night Skies, among others.
In late 1945, Cornell joined the Hugo Gallery, which was run by Alexander Iolas, and a year later mounted the show, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell" (December 1946). He designed the exhibition catalog for this show, which consisted of portraits - box constructions, objects, and "dossiers" - of the opera singers, Giuditta Pasta and Maria Malibran, the ballerinas, Taglioni and Cerrito, and the actresses, Eleanora Duse, Jeanne Eagels, Greta Garbo, and Jennifer Jones, and which also featured one of his most famous boxes, Untitled (Penny Arcade Portrait of Lauren Bacall) (1945-46).
In 1949, Cornell joined the Egan Gallery, which was run by Charles Egan. Around this time, he began creating his series of Aviary boxes, which explored the symbolism of birds and birdcages. He showed twenty-six of these box constructions in his first exhibition at the Egan Gallery, "Aviary by Joseph Cornell" (December 1949-January 1950). He created other series of whitewashed boxes, including the Dovecote series and a small group relating to the poet, Emily Dickinson. He then went on to explore the themes of astronomy and celestial navigation in the Observatory, Night Skies, and Hotel series. Works from these series were featured in his two remaining shows at the Egan Gallery, "Night Songs and Other Work" (December 1950-January 1951) and "Night Voyage" (February-March 1953). In the fall of 1953, sparked by seeing the painting, Figure Seated in a Cafe (1914), Cornell embarked upon a major series of bird constructions dedicated to the Cubist artist, Juan Gris. Notably, these were the only boxes he explicitly dedicated to another artist.
Over the next couple of years, Cornell's work was exhibited across the country. In 1955, he joined the Stable Gallery, which was run by Eleanor Ward. His first one-man show there, in the winter of 1955-56, was "Winter Night Skies," which featured various box constructions based on constellations. During the mid-1950s, he embarked upon a series of Sand Fountains (vertical standing boxes featuring a broken glass and sand that flowed through it when turned upside down), elaborating upon his earlier Sand Boxes (1940s). These boxes along with some of his other latest works, including the Bleriot boxes and the Space Object boxes (which comprised his final box series), were exhibited in his second and last show at the Stable Gallery, "Selected Works" (December 1957).
After leaving the Stable Gallery, Cornell had several dealers handle his work rather than allowing any one to assume too much control. Dealers included Richard Feigen (in Chicago and then in New York) and Irving Blum (in California), among others. Throughout his career, Cornell never liked selling his boxes. He was always reluctant to let his work go and became increasingly uneasy about the growing status of his work as a commodity. He preferred instead to make gifts of his art work to friends and individuals he admired (especially female ones).
In the mid-1950s, Cornell returned to making films. Rather than just splicing together found images as he had in his films of the 1930s, he began to collaborate with others to shoot original footage. He worked with the experimental filmmaker, Stan Brakhage, on two films, one about the Third Ave El which was about to be torn down ( Wonder Ring or Gnir Rednow) and the other about an old house in Cornell's neighborhood that was slated for demolition ( Centuries of June). Cornell then went on to make nine films with the filmmaker, Rudy Burckhardt, including Aviary, A Legend for Fountains, and Nymphlight, among others. In the late 1960s, he enlisted the help of Larry Jordan, who was also a filmmaker, in completing the trilogy of collage-films that he had begun in the 1930s.
Along with creating works of art and making films, Cornell was involved in a host of other creative endeavors throughout his career as an artist. These included: keeping a diary, which was for him another medium for exploring and expressing the themes, ideas, and concerns recurrent in his art work; carrying out "explorations," which typically involved conducting research, collecting material, and compiling files on persons or topics of interest to him; and other projects, such as publishing pamphlets (or brochures) dedicated to the nineteenth-century opera singers, Malibran and Giulia Grisi. Cornell's "explorations" clearly informed his artwork, but they were also works of art in and of themselves. He continually sought to share this work with an audience and twice had the opportunity to do so, when he exhibited versions of his Portrait of Ondine "exploration" at the Museum of Modern Art in 1945 and at the Wittenborn Bookstore in 1956.
Around the mid-1950s, Cornell returned to making collages as independent works of art. Unlike his earlier ones, which were composed from cutouts of black-and-white engravings, his latest collages were made with color images cut out of contemporary magazines and books. In these collages, he explored many of the same themes and preoccupations of his box constructions, including birds, as in Couleur de Peche (1967) and Untitled (Vierge Vivace) (1970), children's games, as in the Penny Arcade series (1960s), and actresses, as in The Sister Shades (1956). Towards the end of his career, collage became his principal medium.
By this time, Cornell was taking fewer trips into Manhattan. Instead, he spent more time at home or traveled only so far as downtown Flushing, where he frequented the public library, hunted for material in stores, such as Woolworth's, and passed time in the coffee-shops on Main Street. From this time on, he kept his diary with increasing regularity, taking down notations with more frequency and creating entries of greater length.
In 1961, fourteen of Cornell's boxes, including Medici Slot Machine, were exhibited as part of the "The Art of Assemblage" show at the Museum of Modern Art. As his biographer notes, Cornell came to view this show "as a turning point in his creative life," marking the "[fall] off in his work" that took place in the sixties (Solomon 271-2). He continued to work on boxes that he had begun long before, but, after this time, rarely if ever constructed new ones. Instead, he focused on making collages and became increasingly concerned with other projects, such as organizing his basement workshop, for which he hired various "helpers" or assistants (mostly young women) over the years. He also became more and more prone to obsessions (or preoccupations, as he called them) with various young women that he encountered both in fantasy (actresses on stage or in films) and in real life (working girls in the city, "teeners" on Main Street, or his female visitors and "helpers" at home). These preoccupations infused his diary writings, and inspired the keeping of "dossiers" on particular individuals and the creation of various collages dedicated to others, including most notably the Penny Arcade series dedicated to Joyce Hunter (or "Tina," as he referred to her in his writings).
After Robert's death in February 1965, Cornell created a series of collages in his memory, many of which incorporated his brother's drawings of animal characters. In January 1966, he exhibited some of these collages, alongside a selection of Robert's drawings, in a show at the Robert Schoelkopf Gallery, "Robert Cornell: Memorial Exhibition." In 1967, there were two retrospective exhibitions of Cornell's work, "An Exhibition of Works by Joseph Cornell" at the Pasadena Art Museum and "Joseph Cornell" at the Guggenheim Museum. By now, Cornell was receiving considerable public recognition for his work. He had received his first profile (by Howard Griffin) in the December 1957 issue of Art News and, ten years later, was treated to a 12-page spread (by David Bourdon) in the December 1967 issue of Life magazine. He was also the recipient of various prizes for his art work, including the M.V Kohnstamm Prize at the Art Institute of Chicago's "62nd American Exhibition of Painting and Sculpture" in 1957 and the winning prize in India's first Triennale of Contemporary World Art in 1968.
In the last years of his life (especially from the time of his mother's death in the fall of 1966), Cornell suffered from severe depression and loneliness, and withdrew even further from the outside world. However, he still maintained relationships with various young friends and artists, who frequently visited Utopia Parkway and/or served as one of his assistants. He became more and more interested in sharing his work with a younger audience and his last two exhibitions in 1972 were expressly for children, "A Joseph Cornell Exhibition for Children" at the Cooper Union School of Art and Architecture and "Joseph Cornell - Collages and Boxes" at the Albright-Knox Art Gallery in Buffalo, New York.
Cornell continued to work until the end of his life, "refurbishing" earlier boxes and creating memorial collages. Following prostate surgery in June 1972, he spent several months recuperating with family in Westhampton before returning to Utopia Parkway in November. He died of heart failure at home on December 29, 1972.
The biographical note draws heavily from Deborah Solomon's biography, Utopia Parkway: The Life and Work of Joseph Cornell (New York: Farrar, Strauss, and Giroux, 1997), and Diane Waldman's book, Joseph Cornell: Master of Dreams (New York: Harry N. Abrams, Inc., 2002).
Related Material:
The Archives holds several collections of different provenance that relate to Joseph Cornell, including the small collections of Allison Delarue (comprised of two letters from Cornell, available on reel 2803), Muriel Streeter Schwartz (comprised of two letters from Cornell, available on reel 4283), Wayne Andrews (comprised of letters from Cornell and printed material), and Marion Netter (comprised of items received from Cornell). In addition, photographs of Cornell can be found amongst the Hans Namuth photographs and papers. Also found within the Archives is a transcribed interview of Cornell's sister, Elizabeth Cornell Benton, conducted on April 21, 1976 as part of the oral history program.
Separated Material:
The bulk of Cornell's source material resides in the Joseph Cornell Study Center, Smithsonian American Art Museum, along with his library and record collection. Cornell's sister, Betty Cornell Benton, donated a portion of this material directly to SAAM (then known as the National Museum of American Art), occasioning the creation of the Study Center circa 1978. The bulk of the source material and library that she donated to AAA, including approximately 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books, was transferred to the Study Center in 1994 and 1995.
Originals of loaned material returned to the donor after microfilming include: some unidentified and miscellaneous correspondence; significant correspondence between Joseph Cornell and Helen S. Cornell; significant correspondence between Helen S. Cornell, family members and others; and some of Joseph Cornell's family correspondence and general correspondence from the Robert Cornell papers. The loaned material is available on microfilm reels 1055-1058 but is not described further in the Series Descriptions/Container Listing of this finding aid.
Provenance:
The Joseph Cornell papers were donated and microfilmed in several installments from 1974 to 1989 by Joseph Cornell's sister, Betty Cornell Benton. Most, but not all, of the correspondence, which was loaned for microfilming in 1974, was subsequently donated in 1989. Additional material was donated in 2004 by the Joseph and Robert Cornell Memorial Foundation.
Restrictions:
Use of the 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.
The papers of California painter, writer, and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Scope and Content Note:
The papers of California painter and teacher Erle Loran measure 12.6 linear feet and date from 1912 to 1991. Found are biographical materials; two linear feet of personal and professional correspondence; personal business records; writings which include extensive drafts and notes for Loran's book Cezanne's Composition; over 400 items of artwork that include watercolors, drawings, charcoal, and pastel studies; printed materials; photographs of Loran, family, and friends, and artwork; and one audio recording of a lecture by Loran on Cezanne.
Biographical materials include biographical sketches, curriculum vita, a will, notes and a notebook, and an appointment book for 1987. Also found is an anniversary invitation, a certificate from the University of California, and the Pepsi-Cola award for 1948.
Two linear feet of correspondence is with artists, critics, galleries, and universities. Correspondents inlcude Romare Bearden, Andrew Dasburg, Clement Greenberg, John Haley, Dalzell Hatfield, Hans Hofmann, Harry Levinson (president of Permanent Pigments), Sam Sabean, Bertha Schaefer, Clyfford Still, and Ulfert Wilke. There is also correspondence with the University of California.
Personal business records include exhibition files, price and consignment lists, teaching materials, University of California Press records, and records relating to the publication of his book on Cézanne. Some of these records also document Loran's involvement with the Fine Arts Museum, Friends of Ethnic Arts, and the San Francisco Art Institute. In addition, there are records related to Loran's role in a donation of forty-five paintings by Hans Hofmann to the University Art Center. Also found are materials related to Loran's activities as an art collector including sales receipts, auction catalogs, and photographs of artwork owned by Loran.
Writings by Loran include a complete manuscript version of Cézanne's Composition along with additional notes and drafts, and numerous other short essays on Cézanne's life and art. Loran's other writings include essays about Hans Hofmann, Marsden Hartley, symbology in abstract art, and contemporary art.
Loran's career as an artist is extensively documented by four linear feet of original artwork, mostly preliminary sketches. The work demonstrates a variety of techniques including watercolor, pastel, pencil, pen, gouache, and oil sketches. Content includes landscapes, portraits, fantasy scenes, urban scenes, and rural scenes.
Printed materials include extensive newsclippings from seven decades, exhibition announcements, and exhibition catalogs. Photographs are of Loran, his second wife Clyta, the Loran family, friends and colleagues, artwork, and source materials. Also found within the papers is an audio recording on cassette of a lecture by Loran on Cézanne.
Arrangement:
The collection is arranged into 8 series:
Missing Title
Series 1: Biographical Materials, 1930s-1990s (Box 1; 0.25 linear feet)
Series 2: Correspondence, 1912-1992 (Boxes 1-3; 2.0 linear feet)
Series 3: Personal Business Records, 1930s-1992 (Box 3; 0.25 linear feet)
Series 4: Writings, 1921-1999 (Boxes 3-4; 1.25 linear feet)
Series 5: Artwork, 1920s-1980s (Boxes 4-8, 13-14; 4.3 linear feet)
Series 6: Printed Material, 1925-1999 (Boxes 8-10, 14; 2.3 linear feet)
Series 7: Photographs, 1910s-1990s (Boxes 10-12, 14; 2.5 linear feet)
Series 8: Audio Recording, 1982 (Box 12; 1 folder)
Biographical Note:
California painter, writer, and teacher Erle Loran was born on October 2, 1905 in Minneapolis, Minnesota. He attended the Minneapolis School of Art and graduated in 1926. That same year, Loran won the Paris Prize from the Chaloner Foundation which enabled him to study in France for the next three years. Here, he immersed himself into the world of Paul Cezanne. He lived for two years in Cézanne's studio, meeting many who knew Cezanne, including painter Emile Bernard, and art dealer Ambroise Vollard. This experience was critical to the development of Loran's artistic vision and his later writings and lectures about Cézanne.
In 1929, Loran returned to the United States, and published the article "Cézanne's Country" in The Arts in 1930. He then spent the early 1930s in Minnesota, after returning to Minneapolis to be treated for tuberculosis. There, Loran began to paint in a regionalist style, producing landscapes and scenes of life in rural Minnesota. In 1931, Loran was given his first one-man show at the Kraushaar Gallery in New York. During the depression, Loran began teaching art and was given painting commissions as part of the federal arts programs of the WPA.
Loran moved to California in 1937 and accepted a position as professor in the art department at the University of California, Berkeley. There he taught until retiring in 1973, serving as the department's chair in the 1950s. He established a program to invite east coast artists to teach at the university, and participants included Conrad Marca-Relli and Milton Resnick. Loran's students included Jay DeFeo, Richard Diebenkorn, and Sam Francis. In 1941 Loran began to write the synthesis of his research and interpretations about Cézanne's work, culminating in his pioneering book Cézanne's Composition published in 1943 by the University of California Press.
During this period Loran associated himself with modernist Hans Hofmann. Loran's early paintings were lyrical abstractions in primary colors; however, his style constantly changed with the times. Watercolor was Loran's medium of choice because it lent itself to his often-remote plein air locations, such as the ghost towns of California and Nevada. With John Haley and Worth Ryder he formed the "Berkeley Group," whose paintings consisted of scenes of the California and southwestern landscape painted in flat, open areas of color. During the war, painting in the open became increasingly difficult and Loran transitioned from plein-air painting to studio work. Shortly thereafter he began to focus his painting on abstraction.
Loran's artwork during the 1950s consisted primarily of abstractions based on natural forms like crystal and driftwood. In 1955, he spent six weeks studying with Hans Hofmann, whom he later called, along with Cézanne, a second "great father figure." In 1960, he was instrumental in securing a gift of forty-five paintings by Hans Hofmann for Berkeley's University Art Center. In the late 1960s, his work became a fusing of Op, Pop, and Hard Edge. From this he moved to figurative painting and later to geometric designs and symbols.
Loran continued to paint throughout the rest of his life in a variety of styles, including nudes, abstractions, and landscapes. Besides being an artist and a teacher, Loran was also a lifelong collector of ethnic art who specialized in African, Asian, Native American, and pre-Columbian tribal art. Many works from his collection are presently housed at the de Young Museum in San Francisco. Loran died in 1999 in Berkeley, at the age of 93.
Related Material:
Found in the Archives of American Art is an oral history interview with Erle Loran conducted by Herschel Chipp, June 18, 1981, and a 1981 interview with Erle and Clyta Loran in the Fine Arts Museums of San Francisco Interviews With Artists collection. Also found is a letter from Loran to Richard Wattenmaker, 1975.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel 906) including photographs of artwork by Erle Loran and two clippings of reproductions of Loran's artwork. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Erle Loran lent the Archives of American Art materials for microfilming and donated papers in 1975. In 1999 Mrs. Ruth Schora-Loran, Loran's widow, donated additional material, including artworks.
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:
Art teachers -- California -- Berkeley Search this
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
Scope and Content Note:
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.
Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.
The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.
From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.
From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.
The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.
The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.
The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.
See Appendix for a list of Kraushaar Galleries exhibitions
Arrangement:
Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.
Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.
For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.
Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.
Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.
Missing Title
Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)
Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)
Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)
Series 4: Photographs, undated (box 54; 0.5 linear ft.)
Series 5: Artwork, [1926, 1938] (box 53; 2 items)
Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)
Historical Note:
Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.
In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.
When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.
Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).
Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.
During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.
Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."
While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."
Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.
In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.
Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"
Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."
In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.
By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.
In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.
By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:
Missing Title
1854 -- Charles W. Kraushaar born
1871 -- John F. Kraushaar born
1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street
1901 -- Galleries moved to 260 Fifth Avenue
1902 -- Antoinette Kraushaar born
1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition
1919 -- Galleries moved to 680 Fifth Avenue
[1920] -- Antoinette Kraushaar began assisting with the business
1924 -- Maurice Prendergast died
1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue
1938 -- William J. Glackens died
1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business
1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business
1948 -- Charles Prendergast died
1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries
1951 -- John Sloan died
1955 -- Galleries moved to 1055 Madison Avenue
1959 -- Carole Pesner joined Kraushaar Galleries
1964 -- Galleries extended into adjacent building
1981 -- Galleries moved to 724 Fifth Avenue
1986 -- Katherine Kaplan joined Kraushaar Galleries
1988 -- Antoinette Kraushaar retired from day-to-day management of the business
1992 -- Antoinette Kraushaar died
Appendix: List of Kraushaar Galleries Exhibitions:
The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.
Missing Title
Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour
Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner
Jan., 1913 -- Paintings by Ignacio Zuloaga
May, 1913 -- Etchings by Seymour Haden
June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour
Oct., 1913 -- Etchings by Frank Brangwyn
Jan., 1914 -- Ignacio Zuloaga
Mar., 1914 -- Paintings by Alphonse Legros
Apr., 1914 -- George Luks
May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler
undated, 1915 -- Paintings by John Lavery
Jan.-Feb., 1917 -- James McNeill Whistler's White Girl
Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack
Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan
Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros
Oct., 1917 -- Monoprints by Salvatore Antonio Guarino
Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth
Jan., 1918 -- Recent Paintings by John Lavery
Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks
Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack
Mar., 1918 -- Paintings by John Sloan
Apr.-May, 1918 -- Paintings by A. L. Bouche
May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack
Oct., 1918 -- Oil Paintings by William Scott Pyle
Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young
Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino
Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack
Mar., 1919 -- Paintings and Drawings by John Sloan
May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder
Sept., 1919 -- Work by Jean Louis Forain
Oct., 1919 -- Etchings and Lithographs by Alphonse Legros
Jan., 1920 -- Recent Paintings by George Luks
Feb., 1920 -- Recent Paintings by John Sloan
Feb., 1920 -- Paintings by William Scott Pyle
Mar., 1920 -- Recent Paintings by Gifford Beal
Apr., 1920 -- Recent Paintings by Augustus Vincent Tack
Apr., 1920 -- Paintings by Henri Le Sidaner
Apr., 1920 -- Paintings and Drawings by Jean Louis Forain
Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers
May, 1920 -- Paintings by Henrietta M. Shore
Jan., 1921 -- Paintings by French and American Artists
Jan.-Feb., 1921 -- Paintings by George Luks
Feb., 1921 -- New Paintings by Augustus Vincent Tack
Apr., 1921 -- John Sloan Retrospective
Summer, 1921 -- French and American Artists
Oct., 1921 -- Paintings of Mountford Coolidge
Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner
Nov., 1921 -- Frank Van Vleet Tompkins
Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art
Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks
Feb., 1922 -- Paintings by Augustus Vincent Tack
Mar., 1922 -- Paintings and Watercolors by Gifford Beal
Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois
Summer, 1922 -- Paintings by Modern Masters of American and European Art
Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks
Jan., 1923 -- Exhibition of Paintings by George Luks
Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack
Mar., 1923 -- Landscapes by Will Shuster
Mar., 1923 -- Paintings by Samuel Halpert
Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal
Apr.-May, 1923 -- Paintings by John Sloan
May, 1923 -- Paintings by Frank Van Vleet Tompkins
June, 1923 -- Etchings by Marius A. J. Bauer
Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach
Dec., 1923 -- Etchings and Lithographs by Alphonse Legros
Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff
Jan., 1924 -- Paintings by Celebrated American Artists
Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois
Apr., 1924 -- New Paintings by George Luks
May, 1924 -- Paintings by Marjorie Phillips
Summer, 1924 -- French and American Modern Artists
Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach
Nov., 1924 -- Watercolors by Seven Americans
Dec., 1924 -- French Paintings
Jan., 1925 -- Paintings by John Sloan
Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition
Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay
Apr., 1925 -- Paintings by William J. Glackens
Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach
undated, 1926 -- Lower Broadway by W. Walcot
Feb., 1926 -- Paintings by Paul Burlin
Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack
Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal
Apr., 1926 -- John Sloan
Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson
Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists
Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan
Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry
Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach
Jan., 1927 -- French Drawings and Prints
Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan
Mar., 1927 -- Gifford Beal
Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent
Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers
Apr., 1927 -- Paintings and Etchings by Walter Pach
Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage
Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis
May, 1927 -- Paintings by Guy Pène Du Bois
Summer, 1927 -- Paintings by American Artists
Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat
Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel
Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene
Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach
Dec., 1927 -- Paintings by Guy Pène Du Bois
Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle
Jan.-Feb., 1928 -- Paintings by S. J. Peploe
Feb., 1928 -- Drawings by Henri Fantin-Latour
Feb., 1928 -- Pastels and Drawings by Margarett Sargent
Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton
Feb.-Mar., 1928 -- Sculpture by William Zorach
Mar., 1928 -- Recent Paintings by Marjorie Phillips
Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens
Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England
Oct., 1928 -- Modern French Paintings, Watercolors and Drawings
Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey
Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson
Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach
Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz
Jan., 1929 -- Exhibition of Paintings by Margarett Sargent
Jan., 1929 -- Watercolors by Rodin
Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler
Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois
Feb.-Mar., 1929 -- Paintings by Gifford Beal
Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers
Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan
Apr., 1929 -- Exhibition of Paintings by Arnold Friedman
Apr., 1929 -- Sculpture by Harriette G. Miller
May, 1929 -- Paintings by Howard Ashman Patterson
May, 1929 -- Paintings by William Meyerowitz
Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings
Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)
Jan., 1930 -- Paintings by Paul Bartlett
Feb., 1930 -- Watercolors by Auguste Rodin
Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois
Summer, 1930 -- Paintings by American Artists
Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast
Nov., 1930 -- Paintings by Ruth Jonas
Nov., 1930 -- Sculpture by Harriette G. Miller
Jan., 1931 -- Paintings and Watercolors by Richard Lahey
Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson
Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal
Mar., 1931 -- Paintings and Watercolors by Walter Pach
Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter
May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey
Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings
Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John
Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec
Jan., 1932 -- Watercolors by Pierre Brissaud
Feb., 1932 -- Paintings and Drawings by A. S. Baylinson
Mar., 1932 -- Watercolors and Pastels by French and American Artists
Apr., 1932 -- Paintings by Nan Watson
May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast
June-Aug., 1932 -- Paintings and Watercolors by American Artists
Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists
Jan., 1933 -- Paintings by Paul Bartlett
Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour
Feb., 1933 -- Etchings of Dogs by Bert Cobb
Feb.-Mar., 1933 -- Paintings by American Artists
Feb.-Apr., 1933 -- Paintings by Contemporary Americans
Apr., 1933 -- Paintings by Maurice Prendergast
Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings
Oct.-Nov., 1933 -- Drawings by Emily W. Miles
Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs
Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1933 -- Watercolors by Gifford Beal
Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"
Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan
Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs
Nov.-Dec., 1934 -- Paintings by Gifford Beal
Mar., 1935 -- Complete Collection of Etchings by Mahonri Young
July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz
Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast
Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg
Mar., 1936 -- Paintings by Louis Bouché
Apr., 1936 -- Paintings by Gifford Beal
Oct.-Nov., 1936 -- Loan Collection of French Paintings
Dec., 1936 -- Monotypes in Color by Maurice Prendergast
Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg
Jan., 1937 -- Paintings of Flowers by William J. Glackens
Feb., 1937 -- Etchings by John Sloan
Feb., 1937 -- A Group of American Paintings
Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir
Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast
Dec., 1937 -- American Watercolors
Jan.-Feb., 1938 -- Paintings by Gifford Beal
Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman
Apr., 1938 -- Paintings by Louis Bouché
May, 1938 -- Paintings and Pastels by Randall Davey
Oct., 1938 -- Selected Paintings by Modern French and American Artists
Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938
Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller
Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others
Jan., 1939 -- Paintings by H. H. Newton
Oct., 1939 -- French and American Paintings
Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes
Nov., 1939 -- Paintings and Watercolors by Russell Cowles
Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché
Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg
Mar.-Apr., 1940 -- Paintings by Maurice Prendergast
Apr.-May, 1940 -- Watercolors by Charles Kaeselau
May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian
Oct., 1940 -- Drawings by American Artists
Nov., 1940 -- Walt Dehner
Mar., 1941 -- John Koch
May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal
Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles
Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1941 -- Charles Prendergast
Jan., 1942 -- Paintings by Samuel Brecher
Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois
Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché
Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"
Dec., 1942 -- Paintings from the Period of the Last War
Feb., 1943 -- Paintings and Watercolors by William Dean Fausett
Mar., 1943 -- Paintings by John Hartell
May-July, 1943 -- Watercolors by Contemporary American Artists
Feb.-Mar., 1944 -- Samuel Brecher
Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan
Mar., 1944 -- Vaughn Flannery
Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles
Apr.-May, 1944 -- Recent Paintings by Louis Bouché
May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller
Oct., 1944 -- Esther Williams
Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast
Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition
Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan
Jan.-Feb., 1945 -- Paintings by Gifford Beal
Feb.-Mar., 1945 -- Paintings by Andrée Ruellan
Apr.-May, 1945 -- Charles Locke
May-June, 1945 -- William Dean Fausett
Oct., 1945 -- Paintings by John Hartell
Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase
Nov.-Dec., 1945 -- Gouaches by Cecil Bell
Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman
undated, 1946 -- Russell Cowles
Jan.-Feb., 1946 -- Richard Lahey
Feb., 1946 -- John Koch
Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt
Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg
Mar., 1946 -- Iver Rose
Apr., 1946 -- Louis Bouché
Apr.-May, 1946 -- Russell Cowles
May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith
Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson
Nov., 1946 -- Guy Pène Du Bois
Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition
Jan., 1947 -- Karl Schrag
Feb.-Mar., 1947 -- Sculpture by Robert Laurent
Feb.-Mar., 1947 -- Paintings by Iver Rose
Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith
Apr., 1947 -- Charles Prendergast
Apr., 1947 -- Louis Bouché
Apr.-May, 1947 -- Esther Williams
Oct.-Nov., 1947 -- Anna Licht
Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens
Mar., 1948 -- Russell Cowles
Apr.-May, 1948 -- Bernard Arnest
Aug.-Sept., 1948 -- New York Paintings and Watercolors
Oct.-Nov., 1948 -- Kenneth Evett
Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller
Jan.-Feb., 1949 -- John Hartell
Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches
Oct., 1949 -- Contemporary Paintings
Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors
Jan.-Feb., 1950 -- James Penney
Feb.-Mar., 1950 -- Paintings by Karl Schrag
Mar.-Apr., 1950 -- Russell Cowles
Jan.-Feb., 1951 -- William Sommer
Feb., 1951 -- Prints and Drawings by Various Artists
Feb., 1951 -- Paintings by Louis Bouché
Mar., 1951 -- Kenneth Evett
Apr.-May, 1951 -- Paintings by Gallery Artists
May-July, 1951 -- Contemporary American Watercolors
July-Aug., 1951 -- Paintings on the Summer Theme
Sept.-Oct., 1951 -- Vaughn Flannery
Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists
Nov., 1951 -- Paintings by John Koch
Nov.-Dec., 1951 -- Joe Lasker
Dec., 1951 -- Small Prints and Drawings
Jan., 1952 -- Recent Gouaches by William Kienbusch
Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career
Feb.-Mar., 1952 -- Andrée Ruellan
Mar.-Apr., 1952 -- Bernard Arnest
Apr.-May, 1952 -- Recent Sculpture by Robert Laurent
May, 1952 -- Recent Paintings by Contemporary American Artists
May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld
July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag
Nov., 1952 -- Karl Schrag
Dec., 1952-Jan. 1953 -- Eight Oregon Artists
Jan., 1953 -- Charles Prendergast Memorial Exhibition
Jan.-Feb., 1953 -- John Hartell
May, 1953 -- John Heliker
June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag
Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay
Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan
Oct.-Nov., 1953 -- Paintings by E. Powis Jones
Oct.-Nov., 1953 -- Recent Works by John Koch
Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology
Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy
Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon
Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin
Feb.-Mar., 1954 -- Russell Cowles
Mar.-Apr., 1954 -- James Penney
Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures
Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey
Jan.-Feb., 1955 -- James Lechay
Feb., 1955 -- Mobiles by George Rickey
Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)
Mar.-Apr., 1955 -- Jane Wasey
Apr., 1955 -- Recent Work by Joe Lasker
May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists
Jan., 1956 -- Carl Morris
Jan.-Feb., 1956 -- John Laurent
Feb.-Mar., 1956 -- William Kienbusch
Mar., 1956 -- Andrée Ruellan
Mar.-Apr., 1956 -- Karl Schrag
Apr.-May, 1956 -- John Heliker
May, 1956 -- Monotypes by Maurice Prendergast
Oct., 1956 -- The Eight
Jan.-Feb., 1957 -- Paintings by John Hartell
Apr., 1957 -- James Penney
Apr.-May, 1957 -- John Heliker
May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)
June-July, 1957 -- 20th Century American Artists
Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)
Nov., 1957 -- Marguerite Zorach
Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke
Jan.-Feb., 1958 -- Tom Hardy
Feb.-Mar., 1958 -- John Koch
Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast
Feb.-Mar., 1958 -- Cecil Bell
Mar., 1958 -- Karl Schrag
Mar., 1958 -- Carl Morris
Mar.-Apr., 1958 -- Louis Bouché
Apr., 1958 -- Paintings and Drawings by Joe Lasker
Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman
Apr.-May, 1958 -- Sculpture by Henry Mitchell
May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag
July, 1958 -- Still Life Paintings and Watercolors by American Artists
Oct.-Nov., 1958 -- Kenneth Evett
Nov., 1958 -- Elsie Manville
Nov.-Dec., 1958 -- John Laurent
Jan., 1959 -- Kinetic Sculpture by George Rickey
Jan.-Feb., 1959 -- Bernard Arnest
Mar., 1959 -- Karl Schrag
Mar.-Apr., 1959 -- Paintings by Joe Lasker
Apr.-May, 1959 -- Henry Mitchell
Sept.-Oct., 1959 -- Robert Searle
Oct.-Nov., 1959 -- Russell Cowles
Nov., 1959 -- Caseins and Paintings by William Kienbusch
Dec., 1959 -- Paintings by Vaughn Flannery
Feb., 1960 -- James Lechay
Apr., 1960 -- Landscapes by John Sloan
Apr.-May, 1960 -- John Guerin
May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists
Oct., 1960 -- Ainslie Burke
Oct.-Nov., 1960 -- Leon Goldin
Nov.-Dec., 1960 -- Ulfert Wilke
Jan., 1961 -- Leonard DeLonga
Jan., 1961 -- Kenneth Evett
Jan.-Feb., 1961 -- Walter Feldman
Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists
Mar., 1961 -- Paintings by Ralph Dubin
Mar.-Apr., 1961 -- James Penney
Apr.-May, 1961 -- John Koch
June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach
Sept., 1961 -- Works by Contemporary Americans
Oct., 1961 -- George Rickey: Kinetic Sculpture
Oct.-Nov., 1961 -- Carl Morris
Nov.-Dec., 1961 -- Peggy Bacon
Dec., 1961 -- Selected Works by Twentieth-Century Americans
Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett
Jan.-Feb., 1962 -- Louis Bouché
Feb.-Mar., 1962 -- Karl Schrag
Mar., 1962 -- Marguerite Zorach
Apr., 1962 -- John Laurent
Apr.-May, 1962 -- Sculpture by Tom Hardy
May-June, 1962 -- Drawings by Contemporary American Artists
July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists
Oct., 1962 -- Bernard Arnest
Feb., 1963 -- William Kienbusch
Feb.-Mar., 1963 -- John Guerin
Mar., 1963 -- John Hartell
Sept.-Oct., 1963 -- Andrée Ruellan
Oct.-Nov., 1963 -- Ainslie Burke
Nov., 1963 -- Walter Feldman
Dec., 1963 -- Drawings by John Koch
Dec., 1963 -- Paintings by Contemporary Americans
Jan., 1964 -- Leonard DeLonga
Jan.-Feb., 1964 -- Joe Lasker
Feb.-Mar., 1964 -- Leon Goldin
Mar., 1964 -- Paintings by Ralph Dubin
Apr., 1964 -- Carl Morris
Apr.-May, 1964 -- Paintings and Drawings by John Heliker
Oct.-Nov., 1964 -- Louis Bouché
Nov.-Dec., 1964 -- Karl Schrag
Dec., 1964 -- Kenneth Evett
Feb., 1965 -- Russell Cowles
Feb.-Mar., 1965 -- James Lechay
Mar.-Apr., 1965 -- James Penney
Apr.-May, 1965 -- Gifford Beal
Feb., 1966 -- Dennis Leon
Feb.-Mar., 1966 -- Henry Schnakenberg
Mar.-Apr., 1966 -- John Hartell
Apr., 1966 -- Elsie Manville
Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries
Oct.-Nov., 1966 -- Tom Hardy
Nov.-Dec., 1966 -- Francis Chapin
Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs
Jan.-Feb., 1967 -- Leonard DeLonga
Feb.-Mar., 1967 -- Carl Morris
Mar.-Apr., 1967 -- Ainslie Burke
Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors
May-June, 1967 -- William Glackens
Oct., 1967 -- Kenneth Callahan
Oct.-Nov., 1967 -- John Laurent
Jan.-Feb., 1968 -- Dennis Leon
Feb.-Mar., 1968 -- Robert La Hotan
Apr., 1968 -- John Guerin
Apr.-May, 1968 -- Leon Goldin
Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings
Oct.-Nov., 1968 -- Karl Schrag
Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes
Dec., 1968-Jan., 1969 -- Group Exhibition
Jan., 1969 -- Elsie Manville
Mar., 1969 -- Kenneth Evett
Apr.-May, 1969 -- James Penney
Sept.-Oct., 1969 -- New Works by Contemporary Artists
Oct.-Nov., 1969 -- John Hartell: Exhibition
Nov., 1969 -- Peggy Bacon
Dec., 1969 -- Selected Examples by American Artists 1900-1930
Jan., 1970 -- Leonard DeLonga
Feb., 1970 -- Joe Lasker
Mar., 1970 -- Group Exhibition
Mar.-Apr., 1970 -- Dennis Leon
Apr.-May, 1970 -- Jerome Myers
Oct.-Nov., 1970 -- Tom Hardy
Jan.-Feb., 1971 -- Jane Wasey
Mar.-Apr., 1971 -- Kenneth Callahan
Oct., 1971 -- Ainslie Burke
Nov.-Dec., 1971 -- Karl Schrag
Feb.-Mar., 1972 -- John Koch
Mar.-Apr., 1972 -- Robert La Hotan
Apr.-May, 1972 -- Leon Goldin
May-June, 1972 -- Selected Works by 20th Century Americans
Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings
Oct.-Nov., 1972 -- John Hartell
Nov.-Dec., 1972 -- Peggy Bacon
Dec., 1972 -- 20th Century Americans
Jan., 1973 -- Leonard DeLonga
Feb., 1973 -- Carl Morris
Mar., 1973 -- James Lechay
Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings
Apr.-May, 1973 -- Jerome Witkin
May-June, 1973 -- Kenneth Evett: Watercolors
Oct.-Nov., 1973 -- Kenneth Callahan
Jan., 1974 -- Joe Lasker
Jan.-Feb., 1974 -- Bernard Arnest
Feb.-Mar., 1974 -- Concetta Scaravaglione
Oct., 1974 -- Ainslie Burke
Oct.-Nov., 1974 -- James Penney
Jan., 1975 -- Tom Hardy
Jan.-Feb., 1975 -- Karl Schrag
Feb.-Mar., 1975 -- Robert La Hotan
Mar.-Apr., 1975 -- William Kienbusch
Apr., 1975 -- Elsie Manville
Apr.-May, 1975 -- Gifford Beal
Oct.-Nov., 1975 -- John Hartell
Nov., 1975 -- Daniel O'Sullivan
Mar., 1976 -- Jerome Witkin
May, 1976 -- Linda Sokolowski
Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After
Oct., 1976 -- Leonard DeLonga
Nov.-Dec., 1976 -- Kenneth Callahan
Jan., 1977 -- James Lechay
Mar., 1977 -- Karl Schrag
Mar.-Apr., 1977 -- David Cantine
Oct.-Nov., 1977 -- John Hartell
Nov.-Dec., 1977 -- Ainslie Burke
Feb., 1978 -- Robert La Hotan
Apr., 1978 -- Elsie Manville
Oct., 1978 -- Tom Hardy
Oct.-Nov., 1978 -- Jerome Witkin
Jan.-Feb., 1979 -- Joe Lasker
Feb., 1979 -- Kenneth Evett
Feb.-Mar., 1979 -- Karl Schrag
Mar.-Apr., 1979 -- Carl Morris
Apr.-May, 1979 -- Linda Sokolowski
Oct.-Nov., 1979 -- Daniel O'Sullivan
Feb.-Mar., 1980 -- Kenneth Callahan
Mar., 1980 -- Ainslie Burke
Oct., 1980 -- John Hartell
Jan., 1981 -- Leonard DeLonga
Feb., 1981 -- James Lechay
Feb.-Mar., 1981 -- Robert La Hotan
Mar.-Apr., 1981 -- Jerry Atkins
Apr.-May, 1981 -- Ben Frank Moss
Jan.-Feb., 1982 -- Jerome Witkin
Feb.-Mar., 1982 -- Elsie Manville
Mar.-Apr., 1982 -- Karl Schrag
Apr.-May, 1982 -- Linda Sokolowski
May-June, 1982 -- David Cantine
Sept.-Oct., 1982 -- Kenneth Callahan
Oct.-Nov., 1982 -- Joe Lasker
Nov.-Dec., 1982 -- Daniel O'Sullivan
Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition
Feb.-Mar., 1983 -- Jerry Atkins
Mar.-Apr., 1983 -- John Hartell
Apr.-May, 1983 -- John Heliker
May-June, 1983 -- Kenneth Evett
Oct., 1983 -- Concetta Scaravaglione
Oct.-Nov., 1983 -- Ben Frank Moss
Nov.-Dec., 1983 -- Russell Cowles
Dec., 1983-Jan., 1984 -- 20th Century Americans
Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad
Feb.-Mar., 1984 -- Robert La Hotan
Mar., 1984 -- David Smalley
Apr., 1984 -- Carl Morris
May, 1984 -- Karl Schrag
July, 1984 -- Drawings by 20th Century Americans
July-Aug., 1984 -- Collages and Drawings by Joseph Heil
Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy
Sept.-Oct., 1984 -- James Penney: Memorial Exhibition
Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin
Nov.-Dec., 1984 -- Isabelle Siegel
Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture
Jan.-Feb., 1985 -- James Lechay
Feb.-Mar., 1985 -- Ainslie Burke
Mar., 1985 -- Karen Breunig
Apr., 1985 -- Kenneth Callahan
Oct., 1985 -- Elsie Manville
Oct.-Nov., 1985 -- William Glackens
Jan.-Feb., 1986 -- Linda Sokolowski
Feb.-Mar., 1986 -- Jerry Atkins
Apr.-May, 1986 -- Jane Wasey
Oct.-Nov., 1986 -- John Hartell
Nov.-Dec., 1986 -- Karl Schrag
Feb.-Mar., 1987 -- Kenneth Evett
Apr.-May, 1987 -- Ben Frank Moss
May-June, 1987 -- David Smalley
Oct.-Nov., 1987 -- Isabelle Siegel
Feb.-Mar., 1988 -- Karen Breunig
Mar.-Apr., 1988 -- Leon Goldin
Sept.-Oct., 1988 -- Elsie Manville
Oct.-Nov., 1988 -- James Lechay
Jan.-Feb., 1989 -- Karl Schrag
Feb.-Mar., 1989 -- Linda Sokolowski
Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties
Jan.-Feb., 1990 -- Gifford Beal: Watercolors
Mar., 1990 -- Robert La Hotan: Recent Paintings
Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings
May-June, 1990 -- David Smalley: Recent Sculpture
May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...
Oct., 1990 -- Isabelle Siegel
Nov., 1990 -- Leon Goldin
Jan.-Feb., 1991 -- Karl Schrag
Feb.-Mar., 1991 -- Joe Lasker
Apr., 1991 -- Ainslie Burke
Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes
Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper
Mar., 1992 -- Tabitha Vevers
May-June, 1992 -- Sonia Gechtoff
Oct.-Nov., 1992 -- James Lechay
Nov.-Dec., 1992 -- Karl Schrag
Mar., 1993 -- Leon Goldin: Works on Paper
Apr.-May, 1993 -- Robert La Hotan
Oct., 1993 -- David Smalley: Sculpture Inside and Out
Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980
Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)
Mar.-Apr., 1994 -- Tabitha Vevers
Oct.-Nov., 1994 -- Linda Sokolowski
Nov.-Dec., 1994 -- Karl Schrag
Jan.-Feb., 1995 -- Langdon Quin
Mar.-Apr., 1995 -- Robert La Hotan
Sept.-Oct., 1995 -- Sonia Gechtoff
Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper
Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995
Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors
Mar.-Apr., 1997 -- Tabitha Vevers
Oct.-Nov., 1997 -- James Lechay
Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest
Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper
Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere
Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings
Nov.-Dec., 1998 -- John Gill
Jan.-Feb., 1999 -- Robert La Hotan
Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart
Nov.-Dec., 1999 -- Kathryn Wall
Jan.-Feb., 2000 -- Elsie Manville
Sept.-Oct., 2000 -- Joe Lasker
Oct.-Nov., 2000 -- James Lechay
Oct.-Nov., 2000 -- Tabitha Vevers
May-June, 2001 -- Kenneth Callahan: Drawings
Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper
Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow
undated, 2003 -- Ann Sperry
Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s
Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements
Nov.-Dec., 2003 -- Tabitha Vevers
Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper
May-July, 2004 -- Anne Frank: A Private Photo Album
Jan.-Feb., 2005 -- John Gill: Ceramics
Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights
Related Material:
An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.
Separated Material:
In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.
Provenance:
53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. 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.
Quotes and excerpts must be cited as follows: Oral history interview with Gene Crain, 1999 March 7-May 22. Archives of American Art, Smithsonian Institution.
