The papers of Washington, D.C. painter Margaret Casey Gates date from 1934-1988, and measure 1.0 linear foot. Gates' papers document her work as a painter, her projects for the New Deal federal arts programs, the Phillips Memorial Gallery and its art school, where she attended school and later worked as secretary and where her husband Robert Franklin Gates was a teacher, and the Washington, D.C. arts scene. Found are scattered correspondence, seven sketchbooks by Gates and two sketchbooks of her divorced husband Robert Franklin Gates. Miscellaneous notes and writings, a scrapbook, printed material, and photographs of Gates, her husband, friends, artwork, and views of the Virgin Islands are also included in the papers.
Scope and Content Note:
The papers of Washington, D.C. painter Margaret Casey Gates date from 1934-1988, and measure 1.0 linear foot. Gates' papers document her work as a painter, her projects for the New Deal federal arts programs, the Phillips Memorial Gallery and its art school, where she attended school and later worked as secretary and where her husband Robert Franklin Gates was a teacher, and the Washington, D.C. arts scene. Found are scattered correspondence, seven sketchbooks by Gates and two sketchbooks of her divorced husband Robert Franklin Gates. Miscellaneous notes and writings, a scrapbook, printed material, and photographs of Gates, her husband, friends, artwork, and views of the Virgin Islands are also included in the papers.
Twelve folders of scattered correspondence include letters from the Federal Works Agency and one or two letters each from friends and individuals that reflect Gates' wide range of interests and activities. Correspondents include Betty Jean Clark, Arthur G. Dove, D. R. Fitzpatrick, Alice Garrett, John Gernand, Karl Knaths, John L. Lewis, a Brazilian artist named Portinari, Julian Lee Rayford, Alfred Stieglitz, and Prentiss Taylor.
Artwork consists of seven of Margaret Casey Gates' sketchbooks and two of Robert Franklin Gates' sketchbooks of both abstract and figural sketches. Margaret's sketchbooks contain landscapes that illustrate her travels to Colorado, Florida, Maine, Maryland, Utah, Virginia, West Virginia, and the Virgin Islands. Sketchbook #2 contains pencil, ink, and pastel drawings of St. Thomas in the Virgin Islands and an intimate drawing of Robert Franklin Gates, Mitchell Jamieson, and Prentiss Taylor asleep on a ship. Artwork also includes a fine caricature of Robert Franklin Gates by Karl Knaths.
Notes and writings primarily consist of scattered notes and brief descriptive accounts of Gates's experiences at the Phillips Gallery, and at the Colorado Springs Art Center. Her extensive descriptions of her travels to the Virgin Islands are also illustrated.
A scrapbook primarily contains clippings, but also includes an award certificate, letters concerning various topics including Pepsi-Cola's annual art competition and Federal Works Agency projects, brochures for the Phillips Gallery Art School and for the McLean Art Club, and a photograph of the mural at the Mebane, North Carolina post office.
Printed material consists of clippings including copies of the rare magazines The Washington Spectator and the American University publication Right Angle, announcements and catalogs for exhibitions of Gates's work, and miscellaneous booklets and brochures. There is also printed material concerning the Armory Show including a copy of the booklet The Story of the Armory Show by Walt Kuhn.
Photographs are of Margaret Casey Gates, Robert Franklin Gates, friends including Prentiss Taylor, her home, and her artwork. Photographs of Margaret and Robert Gates and their artist friends during their visits to the Virgin Islands in the 1930s are of primary interest, offering unique glimpses of that culture during the 1930s. These photographs include aerial photographs of St. Thomas and photographs by Prentiss Taylor.
Arrangement:
The collection is arranged into 6 series. Each series is arranged chronologically.
Series 1: Correspondence, 1934-1986 (Box 1; 12 folders)
Series 2: Artwork, 1935-1965 (Box 1; 12 folders)
Series 3: Notes and Writings, 1939-1984 (Box 1; 7 folders)
Series 4: Scrapbook, 1938-1961 (Box 1; 3 folders)
Series 5: Printed Material, 1935-1988 (Box 1; 20 folders)
Series 6: Photographs, 1934-1976 (Box 1; 19 folders)
Biographical Note:
Margaret Casey was born in 1903 in the Georgetown section of Washington, D.C. She studied art in the studio of Bertha Perry, and from 1924 to 1926 at the Corcoran Art School. She later studied under Henry Varnum Poor at the Colorado Springs Fine Arts Center.
After working as a commercial artist from 1928-1929, Casey began studying at the Phillips Memorial Gallery in 1931 under C. Law Watkins. There, she met her husband, painter Robert Franklin Gates, and married on January 7, 1933. Robert Franklin Gates (1906-1982), who came to Washington, D.C. in 1930, also studied at the Phillips Gallery Art School and worked with Karl Knaths between 1934 and 1947.
Between 1934 and 1941, Robert Gates, with other artists including Mitchell Jamieson and Prentiss Taylor, made several painting trips to the Virgin Islands on a fine arts commission from the U. S. Treasury Department. Margaret Gates accompanied her husband and produced artwork of her own. She also documented their travels. During this same time, Robert taught at the Phillips Gallery Art School and Margaret was employed as the Art School's secretary. In 1937, they purchased a house in McLean, Virginia where Margaret lived until 1980.
In 1939, Margaret Gates won honorable mention in a national mural competition held by the Section of Fine Arts of the U. S. Public Buildings Administration and was subsequently commissioned by the Federal Works Agency to execute a mural for the Post office at Mebane, North Carolina. The mural was completed and installed in 1941.
During the late 1940s and early 1950s, Margaret Gates wrote articles on art for Washington, D. C. publications including the column "The People vs. Art" for American University's Right Angle, and for the magazine The Washington Spectator.
Margaret and Robert Gates were divorced circa 1955. They had no children.
Margaret Gates exhibited her work in the first exhibition at the National Gallery of Art in 1941, as one of many winners of a national competition sponsored by the Federal Works Agency for artwork to decorate a Marine hospital for lepers in Louisiana. She also exhibited in the "Group Show of Washington Painters" at the Bignou Gallery in New York City, as well as at the Corcoran Gallery of Art, the Philips Collection, the Virginia Museum of Fine Arts, the Cincinnati Art Museum, and the Baltimore Museum of Art. A retrospective of her work was exhibited at the Watkins Gallery of American University in 1981. Several of her paintings are in the collection of the Phillips Gallery.
Margaret Casey Gates died on November 4, 1989, in Mitchellville, Maryland.
Related Material:
Also found in the Archives of American Art are the papers of Gates' divorced husband Robert Franklin Gates dating from 1910-1988.
Provenance:
The Margaret Casey Gates papers were a bequest from Gates' estate in 1994, executed by her niece Joyce D. Svedberg.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Margaret Casey Gates papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The papers of artists Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.
Scope and Content Note:
The papers of Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.
Biographical Materials include a last will and testament, biographical narratives, and other official documents, as well as an audio recording of an interview with William Dove made around 1961 by George Wolfer. Correspondence includes letters from friends, clients, other artists, and Dove's patron Duncan Phillips. There is also correspondence with family members Helen Torr and Paul Dove. Drafts of outgoing letters from Dove to various correspondents including Phillips and Alfred Stieglitz are found.
Writings are extensive and include diaries, autobiographical essays, essays about art, artists, and other subjects, and poetry by Arthur Dove; as well as essays, reminiscences, and notes of Helen Torr. Printed Materials include exhibition catalogs for Dove's shows and the shows of other artists in the Stieglitz Circle, examples of Dove's early magazine illustration work, newspaper reviews of Dove's exhibitions, and various pamphlets related to modern art. Personal Business Records include an accounting ledger of the Doves' expenses, sales receipts, tax records, and an undated art inventory. Artwork consists of ten items, mostly sketches in pencil, watercolor, ink, and colored pencil. Photographs are undated and unidentified, but depict mostly family, homes, and coastal scenes.
Arrangement:
The collection is arranged into 7 series:
Series 1: Biographical Materials, 1928-1937, circa 1961 (Box 1; 2 folders)
Series 2: Correspondence, circa 1920-1974 (Box 1; 0.8 linear feet)
Series 3: Writings, circa 1924-1945 (Boxes 1-3; 1.5 linear feet)
Series 4: Printed Materials, circa 1905-1975 (Box 3; 0.3 linear feet)
Series 5: Personal Business Records, circa 1921-1965 (Box 3; 0.3 linear feet)
Series 6: Artwork, undated (Box 3; 1 folder)
Series 7: Photographs, 1909, undated (Box 3; 4 folders)
Biographical Note:
Arthur Garfield Dove was an early twentieth-century painter, collagist, and illustrator who was one of the first American artists to embrace abstraction in art. He was a part of Alfred Stieglitz's Circle of modern American artists introduced at Stieglitz's 291 Gallery along with John Marin and Georgia O'Keeffe. Dove spent his career developing his own idiosyncratic style of formal abstraction in painting based on his ideas about nature, feeling, and pure form, and characterized by experimentation with color, composition, and materials.
Born in Canandiagua, NY in 1880, Dove grew up in the small, rural town of Geneva, NY. He was first exposed to art by a local farmer and painter named Newton Weatherly, who gave him canvas and paint, and who Dove himself cited as an early influence. Dove went to Cornell University to study law, but soon shifted to art and illustration. He graduated in 1903 and quickly became a success as a magazine illustrator, working for Collier's, McClure's, St. Nicholas, and The Illustrated Sporting News, among other publications. In 1904, he married Florence Dorsey, a Geneva woman, and they lived in New York City. Their son, William Dove, was born in 1910.
In 1908 the couple traveled to Paris to enable Dove to pursue his interest in painting. In Paris, he met Alfred Maurer, Jo Davidson, and other American artists living abroad. The influence of his European and expatriate contemporaries would prove to be a lasting one, exposing him to ideas about abstraction and experimentation that he would develop in his work for the rest of his life.
Soon after Dove's return to the United States, he met Alfred Stieglitz and began a lifelong friendship. Stieglitz ran the Little Galleries of the Photo-Secession, which came to be known as 291, in New York. His daring, avant-garde exhibitions of both European and American modern art at 291 provided a venue and gathering-place for progressive American artists that was unique for its time. Dove's first solo exhibition at 291 was held in 1912, and consisted of ten pastel drawings that have come to be known as the "Ten Commandments." The attention it received established Dove as a prominent abstract painter.
Around 1920, Dove met another Westport artist named Helen S. Torr, also known as Reds. A Philadelphia-born painter who had studied at the Pennsylvania Academy of Fine Art, Reds was married at the time to the cartoonist Clive Weed. Torr and Dove eventually left their unhappy marriages and began a life together, moving to a houseboat docked in Manhattan. In 1922, they moved to Halesite, Long Island, New York, where Dove's artwork once again flourished. By the mid-1920s, he was exhibiting regularly, paralleled by the rise of Stieglitz's new Intimate Gallery in 1925. His work continued to explore abstraction and organic forms, and, in addition to paintings, he produced assemblages made of found materials.
Although a building teardown brought the Intimate Gallery to a sudden end in 1929, the financial support of friends enabled Alfred Stieglitz to open An American Place soon thereafter. There Stieglitz would focus on the work of a few American artists, including Dove, John Marin, and Georgia O'Keeffe. Helen Torr was also exhibited at An American Place, in a group show with Arthur in 1933. It was also at this gallery that the art collector Duncan Phillips was introduced to Dove's artwork. Phillips' interest in Dove grew into an ongoing patronage of Dove that would see them through the Depression and periods of serious illness in the 1930s and 1940s. Their arrangement, whereby Phillips had first refusal on all of Dove's new artwork, enabled him to gradually assemble the largest collection of Dove's work held anywhere.
In 1938, while on a trip to New York to attend his exhibition, Dove became suddenly ill. Although he recovered somewhat that year, his health never entirely returned to normal, and he spent long periods during what remained of his life housebound and in a wheelchair. He and Reds bought a home in Centreport, on Long Island, where they would stay the rest of his life. In 1939 he was so ill that neither his family nor Stieglitz thought he would ever paint again. Despite his physical limitations, he continued to work, turning to the less physically strenuous media of drawing and watercolor, and produced new work for five solo exhibitions in the 1940s. His work of this period embraces pure abstraction more fully than ever, and is regarded by some to be a culmination or crystallization of his singular style and approach to abstract painting.
Arthur Dove suffered a stroke in 1946 and died that November, just four months after his lifelong friend and mentor Alfred Stieglitz died of a heart attack. Reds lived until 1967 in their Centreport home. Dove's importance to American art has since been recognized with more than a dozen retrospective exhibitions at major museums and galleries.
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 725 contains Arthur Dove's letters from Alfred Stieglitz (1918-1946) and Georgia O'Keeffe (1921-1948), and two letters from William Einstein (1937). The original letters were later donated to the Beinecke Library at Yale University, which holds the Stieglitz/O'Keeffe Archives. Reel 2803 contains photocopies of Arthur Dove's card catalog of paintings that were discarded after microfilming. This material is not described in the collection container inventory.
Provenance:
The papers of Arthur and Helen Torr Dove were loaned to the Archives of American Art by Arthur Dove's son, William Dove, for microfilming in several increments between 1970 and 1975. The papers were later donated to the Archives by William Dove via the Terry Distenfass Gallery of New York City in multiple accessions between 1982 and 1989, with two major exceptions: 177 letters from Alfred Stieglitz, sixteen letters from Georgia O'Keeffe, and two letters from William Einstein; and Arthur Dove's card catalog of paintings, a photocopy of which had been loaned for microfilming. The papers were digitized in 2006.
Restrictions:
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Collection Rights:
The Arthur and Helen Torr Dove papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
