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Workshop: Legends of the Deaf Community: William "Bill" Ennis, Debbie Sonnenstrahl, Jack R. Gannon, Tom Fields

Creator:
Smithsonian Institution. Festival of American Folklife. Folklore of the Deaf Program 1981 Washington, D.C.  Search this
Collection Creator:
Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this
Extent:
1 Sound recording
1 Sound recording (sound-tape reel, analog, 7 in.)
Culture:
Americans  Search this
Type:
Archival materials
Sound recordings
Place:
United States
Washington (D.C.)
Date:
1981 July 2
Local Numbers:
FP-1981-7RR-0263
Date/Time and Place of an Event Note:
Recorded in: Washington (D.C.), United States, July 2, 1981.
Restrictions:
Restrictions on access. Some duplication is allowed. Use of materials needs permission of the Smithsonian Institution.
Collection Rights:
Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.
Topic:
Disabilities  Search this
Deafness  Search this
Collection Citation:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.
Identifier:
CFCH.SFF.1981, Item FP-1981-7RR-0263
See more items in:
Smithsonian Folklife Festival records: 1981 Festival of American Folklife
Smithsonian Folklife Festival records: 1981 Festival of American Folklife / Series 6: Folklore of the Deaf / 6.3: Audio
Archival Repository:
Ralph Rinzler Folklife Archives and Collections
EDAN-URL:
ead_component:sova-cfch-sff-1981-ref319
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Robert Laurent papers

Creator:
Laurent, Robert, 1890-1970  Search this
Names:
Avery, Milton, 1885-1965  Search this
Barnes, Albert C. (Albert Coombs), 1872-1951  Search this
Bellows, George, 1882-1925  Search this
Berenson, Bernard, 1865-1959  Search this
Bluemner, Oscar, 1867-1938  Search this
Calder, Alexander, 1898-1976  Search this
Careas, Jean  Search this
Courtois, Gustave, 1852-1923  Search this
Dasburg, Andrew, 1887-1979  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Field, Hamilton Easter  Search this
Fiene, Ernest, 1894-  Search this
Goodrich, Lloyd, 1897-1987  Search this
Gross, Chaim, 1904-1991  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hart, George Overbury, 1868-1933  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hope, Henry R. (Henry Radford), 1905-  Search this
Kuhn, Walt, 1877-1949  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lachaise, Gaston, 1882-1935  Search this
Laurent, John, 1921-  Search this
Lipchitz, Jacques, 1891-1973  Search this
McBride, Henry, 1867-1962  Search this
McFee, William  Search this
Nadelman, Elie, 1882-1946  Search this
Pascin, Jules, 1885-1930  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Rattner, Abraham  Search this
Ryder, Albert Pinkham, 1847-1917  Search this
Smith, David, 1906-1965  Search this
Soyer, Raphael, 1899-1987  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice, 1878-1957  Search this
Stieglitz, Alfred, 1864-1946  Search this
Strater, Henry, 1896-  Search this
Zorach, William, 1887-1966  Search this
Extent:
3.7 Linear feet ((on 8 microfilmed reels + 1 photograph not microfilmed))
Type:
Collection descriptions
Archival materials
Date:
1869-1973
Scope and Contents:
Correspondence; manuscripts and writings; lists of works of art; photographs; biographical material; gallery and foundry files; notes and speeches; financial material; scrapbook; guest book; magazines; exhibition catalogs; clippings; and printed material.
REEL N68-2: Letters from George Bellows, Bernard Berenson, Elliott Daingerfield, Arthur B. Davies, Roger Fry, John Marin, Joseph Pennell, Man Ray, John Sloan, Max Weber, J. Alden Weir, and others. Two highly detailed letters from Maurice Sterne in 1913 describe that artist's life in Bali. Also included are signatures of American artists from a guest book, and a 1966 catalog of the Hamilton Easter Field Art Foundation Collection.
REEL N68-3 Letters from Childe Hassam, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, Elie Nadelman, David Smith, Alfred Stieglitz, William Zorach, Oscar Bluemner, Albert C. Barnes, Andrew Dasburg, Ernest Fiene, Pop Hart, Robert Henri, Joseph Stella, Maurice Sterne, and others. Also included are manuscripts, lists of works of art, and photographs of Laurent with Hamiltion Easter Field, Bernard Kariol and others.
REEL 2: Personal data sheet, exhibition catalogs and magazines containing articles by or about Laurent, ca. 1920-1965.
REEL 497: John Laurent's collection of 34 letters, 1902-1960, to Robert Laurent and Hamiltion Easter Field. The 6 letters to Field are from Bernhard Berenson, George Bellows, Maurice Prendergast, Pop Hart, Gustov Courtois, and John Carpenter. The 28 letters to Robert Laurent are from Albert P. Ryder, Gaston Lachaise, Raphael Soyer, Walt Kuhn, Robert Henri, Alfred Stieglitz, Arthur B. Davies, Milton Avery, Alexander Calder, Henry McBride, William McFee, Jules Pascin, Jean Careas, and two unidentified artists.
REEL 2063: Photographs, ca. 1930-1962, of Laurent, his studio, exhibitions, and works of art.
REELS 2065-2067: Biographical material; correspondence from Maurice Sterne, Yasuo Kuniyoshi, Edith Halpert, Henry Hope, Henry Strater, Lloyd Goodrich, David Smith, Walt Kuhn, William Zorach, Ernest Fiene, and Samuel Wood Gaylor; gallery and foundry files; notes, writings, and speeches; financial material; lists of works of art; blueprints; exhibition and printed material, clippings, and a scrapbook; photos of source material and works of art owned by Laurent; and material concerning Hamilton Easter Field, Laurent's teacher and friend, including correspondence, guest book signatures, financial and legal papers and Field Foundation material.
REEL 2155: Photographs of Laurent's works of art with catalog sheets listing the title, date, medium, size, ownership, and exhibition information for each work, ca. 1920-1967. Also included are photographs of Laurent in his studio and with others, including Gaston Lachaise and David Smith; a photo of Chaim Gross; and photos of the Ogunquit Museum in Maine.
UNMICROFILMED: A black and white photograph of the Field Foundation Dinner Auction-Dinner-Dance, Ogunquit, Maine. Depicted are Lloyd Goodrich, Yasuo Kuniyoshi, William Zorach, Robert Laurent, Emil Ganso and others.
Biographical / Historical:
Painter, sculptor, teacher, etcher, and writer; Brooklyn, New York & Ogunquit, Maine. Laurent studied under Hamilton Easter Field, and both were from Brooklyn, N.Y. and were involved in the summer art colony in Oguniquit, Maine.
Provenance:
Material on reels N68-2-N68-3 was lent for microfilming 1968 by Robert Laurent; he donated material on reel 2 1966; material on reel 497 was lent for microfilming 1973 by John Laurent, son of Robert Laurent; material on reels 2063, 2065-2067 was donated 1978 by John Laurent; He donated additional material on reel 2155 and not filmed with his brother Paul in 1981.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers  Search this
Painters  Search this
Sculptors  Search this
Topic:
Painting, Modern -- 20th century  Search this
Sculpture, Modern -- 20th century  Search this
Etching, Modern -- 20th century  Search this
Identifier:
AAA.laurrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-laurrobe

Henry Ernest Schnakenberg papers, 1905-1969

Creator:
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Subject:
Angel, John  Search this
Bacon, Peggy  Search this
Barye, Antoine-Louis  Search this
Beal, Gifford  Search this
Bierstadt, Albert  Search this
Billings, Henry  Search this
Bishop, Isabel  Search this
Blume, Peter  Search this
Bouché, Louis  Search this
Brooks, Van Wyck  Search this
Buller, Audrey  Search this
Cadmus, Paul  Search this
Calder, Alexander  Search this
Catherwood, Frederick  Search this
Congdon, William  Search this
Day, Horace Talmage  Search this
Dows, Olin  Search this
Duchamp, Marcel  Search this
Etting, Emlen  Search this
Evergood, Philip  Search this
Faulkner, Barry  Search this
Fiene, Ernest  Search this
Goff, Lloyd Lozés  Search this
Guys, Constantin  Search this
Hardy, Thomas  Search this
Harnett, William Michael  Search this
Hartl, Léon  Search this
Homer, Winslow  Search this
Hoyt, Whitney Ford  Search this
Inness, George  Search this
Ivins, William Mills  Search this
Johnson, Eastman  Search this
Kirstein, Lincoln  Search this
Kroll, Leon  Search this
Kuniyoshi, Yasuo  Search this
Laning, Edward  Search this
Lasker, Joe  Search this
Leighton, Clare  Search this
Locke, Charles  Search this
Low, Sanford B. D. (Sanford Ballard Dole)  Search this
Lucioni, Luigi  Search this
Marsh, Reginald  Search this
Miller, Kenneth Hayes  Search this
Parsons, Betty  Search this
Robus, Hugo  Search this
Saint-Gaudens, Homer  Search this
Savery, Rockland  Search this
Schmidt, Katherine  Search this
Shahn, Ben  Search this
Sheeler, Charles  Search this
Speicher, Eugene Edward  Search this
Stamos, Theodoros  Search this
Tait, Arthur Fitzwilliam  Search this
Watkins, Franklin Chenault  Search this
Watson, Forbes  Search this
Watson, Nan  Search this
Weisgard, Leonard  Search this
Artists Equity Association  Search this
American Academy of Arts and Letters  Search this
Topic:
Art, Prehistoric  Search this
Painting, Modern -- 20th century  Search this
Etching  Search this
Record number:
(DSI-AAA_CollID)9102
(DSI-AAA_SIRISBib)211296
AAA_collcode_schnh
Theme:
Diaries
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211296

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
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.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Art -- Societies, etc. -- New York (State) -- New York  Search this
New York school of art  Search this
Modernism (Art)  Search this
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Albert Rosenthal papers

Creator:
Rosenthal, Albert, 1863-1939  Search this
Names:
Rodin Museum (Philadelphia, Pa.)  Search this
Avery, Samuel Putnam, 1822-1904  Search this
Diederich, William Hunt, 1884-1953  Search this
Durand, Asher Brown, 1796-1886  Search this
Franklin, Benjamin, 1706-1790  Search this
Hart, Charles Henry, 1847-1918  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Holmes, Oliver Wendell, Jr., 1841-1935  Search this
Houdon, Jean Antoine, 1741-1828  Search this
Palmer, Alexander Mitchell, 1872-1936  Search this
Peters, Harry Twyford, 1881-1948.  Search this
Rosenthal, Max, 1833-1918  Search this
Silliman, Benjamin, 1779-1864  Search this
Stieglitz, Alfred, 1864-1946  Search this
Stuart, Gilbert, 1755-1828  Search this
Taft, William H. (William Howard), 1857-1930  Search this
Ward, John Quincy Adams, 1830-1910  Search this
Washington, George, 1732-1799 -- Portraits  Search this
Weir, Julian Alden, 1852-1919  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1860-1940
Scope and Contents:
Correspondence, printed material, and photographs relating to Rosenthal's work, primarily as a portrait painter and collector of American art and artists' papers. Some material pertains to Rosenthal's father, the engraver Max Rosenthal.
Included are: biographical notes and articles by and about Rosenthal and his father, Max; writings by Albert about his father; and reproductions of Albert's work.
Rosenthal's research material on early American art consists of articles on artists, notes about portrait painters, typescript copies of letters of or about early American artists, among them Rembrandt Peale, G.P.A. Healy, and John Rampage, several original letters, including 5 from John Quincy Adams Ward to various people, and one from Ben Silliman to Asher B. Durand, and an engraved copy of a letter from Ben Franklin to Mr. Strahan, July 5, 1775.
Other material includes files on Rosenthal's portraits of French officers who served in the American Revolution; Gilbert Stuart's (George) Washington portraits, 1922-1923; the Rodin Museum in Philadelphia (includes correspondence with Jules Mastbaum, the founder of the museum, and others, 1925-1932); Jean Antoine Houdon's busts of Washington and Lafayette, 1925-1932; Harry T. Peters' book "America on Stone", 1931; and on "Rosen-Thal," Albert's home that was originally the Huffinagle mansion in Buck's County, Pa.
There is voluminous business and other correspondence, 1860-1940, relating to Max, Louis, and Albert Rosenthal's work and to Albert's portraits of Supreme Court Justices. Among the diverse group of correspondents are: Samuel Putnam Avery, William Hunt Diederich, Charles Henry Hart, Sakakichi Hartmann, Oliver Wendell Holmes, A. Mitchell Palmer, Alfred Stieglitz, William Howard Taft, and J. Alden Weir.
Photographs are of Rosenthal's work and of unidentified portraits possibly by Rosenthal; reproductions of European paintings, miniatures, sculptures; and miscellaneous portraits by various artists.
Unmicrofilmed material (0.4 feet) consists of miscellaneous photographs and reproductions.
Biographical / Historical:
Albert Rosenthal (1863-1939) was a portrait painter, printmaker, writer, and collector in Philadelphia, Pa. Rosenthal was a student of his father, engraver Max Rosenthal, and later published a book about him. He is also known for his portraits of Supreme Court Justices, and his collection of American drawings, which he donated to the Free Library of Philadelphia in 1927.
Provenance:
Donated by Albert Duveen, 1959. Duveen collected American artists' and art related papers with the intention of forming an American artists reference facility. He purchased at least some of Rosenthal's papers and much correspondence from the Albert Rosenthal Estate, and subsequently gave them to AAA upon its formation.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Etchers  Search this
Painters  Search this
Topic:
Art, American  Search this
Portrait painting, American  Search this
Portrait painting -- United States  Search this
Judges -- United States -- Portraits  Search this
Identifier:
AAA.rosealbp
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rosealbp

William Meyerowitz and Theresa F. Bernstein papers

Creator:
Meyerowitz, William, 1887-1981  Search this
Bernstein, Theresa  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Blashfield, Edwin Howland, 1848-1936  Search this
Bluemner, Oscar, 1867-1938  Search this
Holmes, Oliver Wendell, Jr., 1841-1935  Search this
Karolik, Maxim  Search this
Phillips, Duncan, 1886-1966  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Ward, Lynd, 1905-1985  Search this
Weichsel, John, 1870-1946  Search this
Extent:
1.2 Linear feet ((on 4 microfilm reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1915-1978
Scope and Contents:
Biographical accounts, letters, notes, writings, art work, scrapbooks, printed material, and photographs document the careers of William Meyerowitz and his wife Theresa Bernstein, both painters and printmakers.
REELS D285-D285a: Letters, 1918-1967, from patrons and colleagues, including John Taylor Arms, Edwin Blashfield, Maxim Karolik, Duncan Phillips, and John Weichsel; exhibition announcements and catalogs, 1920-1967; 35 photographs of art works; a scrapbook, 1923-1944, containing exhibition announcements and catalogs, a clipping, and a photograph of an art work; 16 drawings; 3 prints; a list of Bernstein's work; 2 poems; a 4-page typescript "Reflections on the Art Status" by Bernstein; a typescript concerning painting in America by Oscar Bluemner; miscellaneous manuscripts, undated and 1964; 2 receipts for gifts of art work, 1927 and 1957; and a copy of the by-laws of the Cape Ann Arts Council, 1955.
REEL N69-137: Three exhibition catalogs, 1969, for works of Meyerowitz and Bernstein.
REEL 4866: Biographical accounts; 2 award certificates for Bernstein; letters, 1921-1978, from patrons and colleagues, including Oliver Wendell Holmes, Homer Saint-Gaudens, and Lynd Ward; 3 lists of Bernstein's works; 7 poems; a manuscript "On Portraiture"; a typescript by Bernstein about Meyerowitz' work; 22 drawings; 1 print; a scrapbook of clippings, 1915-1918; a scrapbook, undated and 1931, containing a clipping, a photograph of an art work, and exhibition catalogs; clippings, 1929-1978; a reprint "On the Need of Art" by Meyerowitz, 1944; exhibition announcements and catalogs, 1921-1977; reproductions of art works; a card advertising a summer art course taught by Meyerowitz and Bernstein; 10 photographs of the artists, 1930-1962; and 19 photographs of art works.
Biographical / Historical:
Painters and printmakers; New York, N.Y. William Meyerowitz was born in Russia in either 1889 or 1898. Moving to New York in 1908, he studied at the National Academy of Design from 1912-1916. He married Theresa Bernstein in 1918, and travelled in Europe from 1922-1923. During his exhibition at the Corcoran in 1930, he met Oliver Wendell Holmes, who became a patron and a subject for later work. Theresa Bernstein was born in Philadelphia and studied at the Philadelphia School of Design, the Pennsylvania Academy of the Fine Arts, and continued her studies at the Art Students League in New York. She died on Feb. 13, 2002, and was generally believed to be 111, though she could have been as old as 116.
Provenance:
Donated 1966-1978 by Mr. and Mrs. William Meyerowitz. Microfilmed 1994 with funding provided by the Henry and Lucy Moses Fund, the Lucius N. Littauer Foundation, the Goldie-Anna Charitable Trust, the Samuel Bronfman Foundation, and the Louis and Anne Abrons Foundation.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers  Search this
Painters  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Women painters -- New York (State) -- New York  Search this
Etching -- New York (State) -- New York  Search this
Jewish artists  Search this
Genre/Form:
Drawings
Identifier:
AAA.meyewill
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-meyewill

Harry Wickey papers

Creator:
Wickey, Harry  Search this
Society of American Etchers  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Curry, John Steuart, 1897-1946  Search this
Dehn, Adolf, 1895-1968  Search this
Grosz, George, 1893-1959  Search this
Kent, Rockwell, 1882-1971  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Myers, Jerome, 1867-1940  Search this
Pach, Walter, 1883-1958  Search this
Robinson, Boardman, 1876-1952  Search this
Sloan, John, 1871-1951  Search this
Sternberg, Harry, 1904-2001  Search this
Street, Frank, 1893-1944  Search this
Extent:
0.2 Linear feet (ca. 237 items (on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1918-1973
Scope and Contents:
Letters, printed material, photographs, writings, and two etchings.
REEL 3683: Letters, annotated by Wickey, from John Taylor Arms, John Steuart Curry, Adolph Dehn, Rockwell Kent, Reginald Marsh, Kenneth Hayes Miller, Walter Pach, the Society of American Etchers, and other art organizations discussing art theory, exhibitions, and personal matters; 3 exhibition catalogs, ca. 1931-1973; a notice of a Guggenheim Fellowship award; and two landscape etchings by Wickey.
REEL 1079: A typescript of Wickey's autobiography, THUS FAR, (published by the American Artists Group, 1941); letters from Wickey to Ethel and Virginia Myers about Jerome Myers, and to Mr. and Mrs. Frank Street sent from France during World War I; letters from Syracuse University about the Wickey Collection, and from George Grosz; a list of letters given to Syracuse University; and photographs of Wickey and Grosz.
Biographical / Historical:
Etcher, lithographer, teacher; Cornwall Landing, New York.
Related Materials:
Harry Wickey papers also at Syracuse University.
Provenance:
Material on reel 1079 donated by Mrs. May Wickey, wife of Harry Wickey, 1976. Material on reel 3683 lent for microfilming by Ralph Sandler, the son of Wickey's friend and patron Marc Sandler, 1986.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers -- New York (State)  Search this
Lithographers -- New York (State)  Search this
Topic:
Landscape prints -- 20th century  Search this
Prints -- 20th century -- New York (State)  Search this
Identifier:
AAA.wickharr
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-wickharr

Oral history interview with Sue Fuller, 1975 April 24-May 8

Interviewee:
Fuller, Sue, 1914-2006  Search this
Interviewer:
Cummings, Paul, 1933-1997  Search this
Subject:
Albers, Josef  Search this
Arms, John Taylor  Search this
D'Amico, Victor  Search this
Dewey, John  Search this
Hofmann, Hans  Search this
Lejwa, Madeleine Chalette  Search this
Matta  Search this
Rattner, Abraham  Search this
Schaefer, Bertha  Search this
Schanker, Louis  Search this
Thurn, Ernest  Search this
Carnegie Institute of Technology (Carnegie Mellon Univ.)  Search this
Columbia University. Teachers College. Lincoln School  Search this
Society of American Etchers  Search this
Type:
Interviews
Sound recordings
Place:
Europe -- description and travel
Japan -- Description and Travel
Topic:
Art, American  Search this
Art -- Study and teaching  Search this
Calligraphy -- Study and teaching  Search this
Computer Art  Search this
Painting -- Study and teaching  Search this
Printmakers -- New York (State) -- Interviews  Search this
Prints -- Technique -- Study and teaching  Search this
Sculptors -- New York (State) -- Interviews  Search this
Women artists -- New York (State) -- Interviews  Search this
Record number:
(DSI-AAA_CollID)13068
(DSI-AAA_SIRISBib)212685
AAA_collcode_fuller75
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212685
Online Media:

Charles Lang Freer Papers

Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
131 Linear feet (29 architectural drawings)
Type:
Collection descriptions
Archival materials
Diaries
Financial records
Correspondence
Photographs
Place:
China
Syria
Egypt
India
London (England)
Japan
Boston (Mass.)
Detroit (Mich.)
Washington (D.C.)
Kandy (Sri Lanka)
Sri Lanka
Anuradhapura (Sri Lanka)
Date:
1876-1931
Summary:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.
Scope Content:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Organization of the Papers:
This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs
Biographical Note:
1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Karin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.
Index:
Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company
Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts
Related Material:
The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.
Provenance:
Gift of the estate of Charles Lang Freer.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American -- Collectors and collecting  Search this
Art, Asian -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Architecture -- Asia  Search this
Genre/Form:
Diaries
Financial records
Correspondence
Photographs
Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01
See more items in:
Charles Lang Freer Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a-01
Online Media:

Oral history interview with Don Freeman, 1965 June 4

Interviewee:
Freeman, Don, 1908-1978  Search this
Interviewer:
McGlynn, Betty Lochrie Hoag, 1914-2002  Search this
Subject:
Sloan, John  Search this
Henri, Robert  Search this
Wickey, Harry  Search this
Pollock, Jackson  Search this
Tolegian, Manuel J. (Manuel Jerair)  Search this
Marsh, Reginald  Search this
United States  Search this
Art Students League (New York, N.Y.)  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Illustrators -- California -- Interviews  Search this
Federal aid to the arts  Search this
Artists' materials  Search this
Illustration of books  Search this
Prints -- Technique  Search this
Record number:
(DSI-AAA_CollID)12155
(DSI-AAA_SIRISBib)213458
AAA_collcode_freema65
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213458

Margery Ryerson papers, 1902-1967

Creator:
Ryerson, Margery A., 1886-1989  Search this
Subject:
Henri, Robert  Search this
Saint-Gaudens, Augustus  Search this
Type:
Scrapbooks
Topic:
Women painters  Search this
Women artists  Search this
Record number:
(DSI-AAA_CollID)5666
(DSI-AAA_SIRISBib)208500
AAA_collcode_ryermarg
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208500

Blanche Lazzell papers

Creator:
Lazzell, Blanche, 1878-1956  Search this
Names:
Chaffee, Oliver Newberry, 1881-1944  Search this
Dasburg, Andrew, 1887-1979  Search this
Gleizes, Albert, 1881-1953  Search this
Henri, Robert, 1865-1929  Search this
O'Connor, John  Search this
Pearson, Ralph M., 1883-1958  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Photographs
Visitors' books
Drawings
Diaries
Date:
1893-1986
bulk 1901-1940
Summary:
The papers of printmaker, etcher, and painter Blanche Lazzell (1878-1956) measure 4.6 linear feet and date from 1893 to 1986, with the bulk of the material dating from 1901 to 1940. Found within the papers are biographical materials; correspondence with family, friends, and colleagues; writings; five diaries; scattered personal business records; printed material; artwork; photographs; and artifacts.
Scope and Contents:
The papers of printmaker, etcher, and painter Blanche Lazzell (1878-1956) measure 4.6 linear feet and date from 1893 to 1986, with the bulk of the material dating from 1901 to 1940. Found within the papers are biographical materials; correspondence with family, friends, and colleagues; writings; five diaries; scattered personal business records; printed material; artwork; photographs; and artifacts.

Biographical material includes school report cards, address books, obituaries, membership certificates, and travel documents from Blanche Lazzell's travels abroad in Europe.

Correspondence is with family, friends, and colleagues. Family correspondence is predominately with Lazzell's sisters, and a lesser amount with her brother Rufus and other relatives. Well over one-half of the correspondence is with friends and colleagues, including Arthur Lee Post and John O' Connor, and one or more letters from Oliver Chaffee, Andrew Dasburg, Robert Henri, and Ralph M. Pearson, among others.

Writings include notebooks, essays, and notes. Notebooks are primarily class notes, including one from Lazzells's studies in France during her second trip to Europe, and another maintained as a record of artwork. Also found are essays,including one about Provincetown; notes; biographical sketches; and lists of exhibitions and artwork. Five diaries document the late 1890s and Lazzell's trips to Europe in 1912-1913 and 1923-1924.

Scattered personal business records consist of 3 expense account ledgers and one sales ledger. Printed Material includes guest books, news clippings, exhibition catalogs, exhibition announcements, magazines, brochures, and newsletters. Artwork includes pencil drawings and sketches, mostly from studies with the artist Albert Gleizes in Paris. Photographic material consists of photographs, slides, and one lantern slide. The photographs are of Blanche Lazzell with artists and friends, her studio and the harbor in Provincetown, artwork, and travels in Italy.

Artifacts include 2 metal signs and 1 paint palette in a metal case.
Arrangement:
This collection is arranged as 9 series.

Series 1: Biographical Material, 1894-1970 (0.3 linear feet; Box 1)

Series 2: Correspondence, 1897-1965 (1.2 linear feet; Box 1-2)

Series 3: Writings, 1893-1969 (1.2 linear feet; Box 2-3)

Series 4: Diaries, 1896-1924 (0.1 linear feet; Box 3)

Series 5: Personal Business Records, 1894-1916 (0.1 linear feet; Box 3)

Series 6: Printed Material, 1899-1986 (1 linear feet; Box 3-4)

Series 7: Artwork, 1924-circa 1940 (0.1 linear feet; Box 4)

Series 8: Photographic Material, 1897-1956 (0.5 linear feet; Box 5-6)

Series 9: Artifacts, circa 1910-1956 (0.1 linear feet; Box 6)
Biographical / Historical:
Blanche Lazzell (1878-1956) was a printmaker, etcher, painter, and rug designer who worked primarily in Provincetown, Massachusetts and Morgantwon, West Virginia.

Nettie Blanche Lazzell was born in Maidsville, West Virginia, in 1878, the daughter of Mary Prudence Pope and Cornelius Carhart Lazzell. At some point during her childhood, Lazzell became partially deaf. When Lazzell was fifteen, she enrolled in the West Virginia Conference Seminary, now West Virginia Wesleyan College and graduated in 1898.

In 1899, Lazzell continued her studies at the South Carolina Co-educational Institute and graduated that same year. She later matriculated into the West Virginia University (1901-1905) where she took drawing and art history classes with William J. Leonard and earned a degree in fine arts. After graduation, Lazzell periodically studied at the university until 1909. Lazzell moved to New York City in 1907 and enrolled in the Art Students League of New York in 1908 where she studied under William Merritt Chase.

Lazzell travelled to Europe during the summer of 1912. After visiting several cities, Lazzell went to Paris and stayed beyond the tour to attend classes at the Académie Julian and the Académie Moderne where she studied with painter Charles Guérin. Lazzell returned to the United States in the fall of 1913 and stayed in West Virginia with her sister Bessie. She held a solo exhibition of her sketches and paintings in 1914. Lazzell moved to the thriving art colony at Provincetown, Massachusetts in 1915. There, she studied with Charles Webster Hawthorne, who founded the Cape Cod School of Art, and Oliver Chaffee, who taught her the technique for white-line woodcuts. Lazzell quickly adopted and excelled at making white-line woodblock prints, joined the Provincetown Printers, an art collective, and regularly exhibited with them.

n 1918, Lazzell converted an "old fish house" overlooking the Provincetown harbor into her studio and summer home. She planted a lush garden that became a tourist attraction where she often hosted teas and taught classes on painting and woodblock printing. The studio became her primary summer residence, though she often returned to Morgantown, West Virginia. Lazzell also visited other artist colonies during this time, including one in Woodstock, New York where she studied with Andrew Dasburg.

In 1919 Lazzell was featured in an exhibition at Touchstone Gallery in New York City. Later that year, the Provincetown Printers were featured at the Detroit Institute of Arts exhibition "Wood Block Prints in Color by American Artists". That show included Lazzell's depiction of the Monongahela River in Morgantown.

From 1923 to 1924, Lazzell travelled again to Europe and studied with Fernand Legér, André Lhote, and Albert Gleizes in Paris. Lazzell studied Cubism and took a class with Gleizes and her work became more abstract. When she returned to Provincetown, she had her studio rebuilt so it was more comfortable during the winter. She continued to teach art at her studio and participate in exhibitions.

In addition to her woodblock prints, Lazzell also worked with batik, rug design, and hand-painted china. She was a member of numerous arts organizations such as the Société Anonyme, New York Society of Women Artists, Provincetown Art Association, the Sail Loft Club (a Provincetown women's art club), and the Society of Independent Artists. In 1934, Lazzell received a Federal Art Project grant through the Works Progress Administration and created a mural titled Justice for the Morgantown courthouse.

Lazzell died in Morgantown, West Virginia in 1956.
Separated Materials:
The papers were originally loaned for microfilming on reels 2988-2991 and most of them, but not all, were included in a later donation. The papers not included in the later donation are only available on microfilm.
Portions of the microfilmed material were retained by the donor.
Provenance:
The Blanche Lazzell papers were anonymously donated to the Archives of American Art in 1987, including most of the materials that had been earlier loaned for microfilming in 1983.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Blanche Lazzell 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.
Occupation:
Painters  Search this
Topic:
Artists' studios -- Photographs  Search this
Etchers  Search this
Art -- Study and teaching  Search this
Painting -- Massachusetts -- Provincetown  Search this
Printmakers  Search this
Etching -- Massachusetts -- Provincetown  Search this
Women artists  Search this
Genre/Form:
Sketches
Photographs
Visitors' books
Drawings
Diaries
Citation:
Blanche Lazzell papers, 1893-1986, bulk 1901-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lazzblan
See more items in:
Blanche Lazzell papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lazzblan
Online Media:

Julius Bloch papers, 1918-1966

Creator:
Bloch, Julius T. (Julius Thiengen),, 1888-1966  Search this
Type:
Sketchbooks
Topic:
African Americans in art  Search this
Record number:
(DSI-AAA_CollID)9995
(DSI-AAA_SIRISBib)212785
AAA_collcode_blocjuli
Theme:
Diaries
Sketches & Sketchbooks
African American
Art Movements and Schools
Lives of American Artists
Government Sponsorship of the Arts
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212785

The life, work, and significance of George Loring Brown : American landscape painter / by Thomas Whittlesey Leavitt

Creator:
Leavitt, Thomas W.  Search this
Names:
Brown, George Loring, 1814-1889  Search this
Extent:
226 Pages ((on partial microfilm reel), ill.)
Type:
Collection descriptions
Archival materials
Pages
Date:
undated
Scope and Contents:
Dissertation (Ph.D.)--Fine arts department, Harvard University, Cambridge, Mass., September 1957.
Biographical / Historical:
Leavitt: Museum director and art historian. Born January 8, 1930. Director of the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, New York. The subject of his dissertation, George Loring Brown (1814-1889), was a painter, engraver and etcher, Massachusetts, who studied and travelled in Europe, primarily Italy.
Provenance:
Donated 1964, provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art historians  Search this
Museum directors  Search this
Topic:
Painting, American  Search this
Landscape painting  Search this
Identifier:
AAA.leavthom
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-leavthom

Chicago Society of Etchers records

Creator:
Chicago Society of Etchers  Search this
Names:
Chicago Society of Etchers  Search this
Botke, Cornelius, 1887-1954  Search this
Dalstrom, Gustaf O. (Gustaf Oscar), 1893-1971  Search this
Fabri, Ralph, 1894-1975  Search this
Jensen, John Paul, 1904-  Search this
Kappel, Philip  Search this
Kloss, Gene, 1903-  Search this
Pescheret, Leon Rene, 1892-1961  Search this
Sykes, Maltby  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1933-1972
bulk 1940-1959
Scope and Contents:
Primarily correspondence and a scrapbook kept by several of the Society's secretaries including F. L. Thompson and James Swann. Correspondence mostly with members concerning activities, sales, and exhibitions. Several letters inquire about the status of the Society and whether it will continue. The scrapbook, 1937-1972 (bulk 1937-1948), contains exhibition catalogs and announcements, letters, annual bulletins, membership lists, handwritten minutes of Board of Directors' meetings which detail expenses, suggestions for exhibition venues, membership and activities. Added to the scrapbook is the 1972 certificate of dissolution of the Society. A few miscellaneous financial records, printed materials, and price lists complete the collection.
Among the correspondents are: Cornelius Botke, Gustav Dalstrom, Gene Kloss, Philip Kappel, Roi Partridge, Leon R. Pescheret, and Maltby Sykes, as well as local Chicago artists.
Arrangement:
Arranged into series by record type: I. Correspondence II. Scrapbook III. Financial material; chronological thereunder.
Biographical / Historical:
Art society; Chicago, Ill., organized 1910; dissolved 1972.
Provenance:
Donated 1996 by Peter Jensen, son of printmaker John Paul Jensen, the last secretary of the Chicago Society of Etchers, who retained the records of the Society after its dissolution.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Etchers -- Illinois -- Chicago  Search this
Printmakers  Search this
Topic:
Etching -- Illinois -- Chicago  Search this
Etching -- 20th century -- United States  Search this
Etching, American  Search this
Art -- Societies, etc. -- Illinois -- Chicago  Search this
Identifier:
AAA.chicetch
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-chicetch

The life and art of Robert Swain Gifford / by Robert Swain Ross, Jr

Creator:
Ross, Robert Swain  Search this
Names:
Gifford, R. Swain (Robert Swain), 1840-1905  Search this
Extent:
169 Pages ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Pages
Date:
undated
Scope and Contents:
Thesis (B.A.) - Princeton University, 1966.
Biographical / Historical:
Robert Swain Gifford was a watercolorist and etcher; New Bedford, Mass. Robert Swain Ross is his great-grandson.
Provenance:
Provenance unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers -- Massachusetts -- New Bedford  Search this
Watercolorists -- Massachusetts -- New Bedford  Search this
Identifier:
AAA.rossrobe
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-rossrobe

Max Kuehne photograph and drawing

Creator:
Kuehne, Max, 1880-1968  Search this
Extent:
2 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Drawings
Date:
[undated]
Scope and Contents:
Photograph of Kuehne by Peter A. Juley Studio, and an unidentified portrait drawing by Kuehne.
Biographical / Historical:
Etcher, painter; New York City and Rockport, Massachusetts.
Provenance:
The donor, Richard E. Kuehne, is Max Kuehne's son.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Etchers  Search this
Painters  Search this
Genre/Form:
Drawings
Identifier:
AAA.kuehmaxd
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kuehmaxd

Research material on William and Thomas Birch

Creator:
Birch family  Search this
Names:
Birch, Thomas, 1779-1851  Search this
Birch, William Russell, 1755-1834  Search this
Creer, Doris Jean  Search this
Strickland, William, 1787-1854  Search this
Extent:
1.4 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
circa 1799-1990
bulk 1940-1970
Scope and Contents:
Biographical material, writings, scrapbooks, correspondence, photographs, artwork, printed material and miscellany relating to William and Thomas Birch.
Biographical material includes research material on the Birch coat of arms; notes, including two scrapbooks, concerning the Birch family genealogy compiled by David Walter Harry and Thaddeus Harry, ancestors of William and Thomas Birch. Writings include thesis notes by Doris Jean Creer on William and Thomas Birch. Photographs are of Birch family members and works of art by William and Thomas Birch.
Artwork includes lithographs of oil paintngs by William and Thomas Birch, including Girard's Bank (1800), Second Street (1799), and If that Fellow Wants to Fight, We Won't Disappoint Him (1812); one black and white engraving and one aquatint of Bethlehem, Pa (circa 1820) by artist William Strickland based on an oil painting by Thomas Birch, and two black and white engravings and one aquatint of View of the Water Gap and Columbia Glass Works, River Delaware (circa 1820) by William Strickland based on an oil painting by Thomas Birch.
Printed material include exhibition catalogs and books, newspaper clippings and magazine articles. Also included is documentation of a donation of William Birch's paint box to the Historical Society of Pennsylvania.
Biographical / Historical:
Enamel painters, miniaturists, engravers, etchers, publishers; Philadelphia, Pa. William Russell Birch (1755-1834) is best known for his miniature and enamel portraits and this series of Views of Philadelphia which he worked on with his son Thomas Birch (1779-1851) and published in 1799-1800.
Provenance:
Donated in 2008 by Cindy Keene, daughter of David Walter Harry.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Engravers -- Pennsylvania -- Philadelphia  Search this
Miniature painters -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.bircwill2
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bircwill2

Reginald Marsh papers

Creator:
Marsh, Reginald, 1898-1954  Search this
Names:
Benton, William, 1900-1973  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Marsh, Felicia Meyer, 1912-1978  Search this
Marsh, Fred Dana, 1872-1961  Search this
Powys, Llewelyn, 1884-1939  Search this
Schmidt, Katherine, 1898-1978  Search this
Woodhouse, Betty Burroughs, 1899-1988  Search this
Extent:
9.3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Diaries
Sketchbooks
Date:
1897-1955
Summary:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Scope and Content Note:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.

Marsh's correspondence is typically with family, friends, artists, colleagues, dealers, government officials, publishers, greeting card companies, admirers and former students. Correspondence concerns both personal and professional matters, documenting his relationships with family and friends and his work on various projects ranging from book illustrations to the murals he executed as part of the Treasury Department Art Program. Diaries include those Marsh kept as an adolescent, those in which he recorded his technique and work on art, and those in which he recorded his daily engagements. Notebooks include ones on art, in which he recorded notes on particular works and on painting techniques, mediums and other processes; ones used as address books and to record notes on travel and art work; and ones on finances, in which he kept track of earnings from his stocks and art, as well as some student notebooks. Diaries and notebooks both document various practical aspects involved in the creation of Marsh's art work.

Sketches include ones on loose sheets and scraps of paper and in sketchbooks, documenting some of the sources and recurrent themes of Marsh's art work, as well as shedding light on Marsh's process of creation. Scrapbooks consist primarily of clippings (illustrations, reviews, reproductions of art work) compiled by Marsh, documenting the publication, exhibition, and reception of his art work. Business and financial papers consist of paperwork (contracts, agreements, statements, receipts, permissions) relating to business matters, practical concerns, and financial aspects involved in handling his various art projects and in exhibiting and selling his art work. Photographs include ones of Marsh's family and friends, the artist at work (sketching around Coney Island and on the streets of New York), and his art work (some of which was compiled into volumes by Marsh and some of which was compiled by Norman Sasowsky).

Also found are limited amounts of biographical material, including juvenilia, official documents, awards and certificates, writings, an appraisal of Marsh's estate, and catalogs of Marsh's art work, and printed material, including exhibition catalogs, clippings, and publications.
Arrangement:
The Reginald Marsh papers are arranged as 9 series:

Series 1: Biographical Material, 1910s-1955 (boxes 1, 11; 0.8 linear feet)

Series 2: Correspondence, 1920-1954 (boxes 1-2, OV 12; 1.2 linear feet)

Series 3: Diaries, 1912-1954 (box 3; 1 linear foot)

Series 4: Notebooks, 1919-1954 (box 4; 0.8 linear feet)

Series 5: Sketches, 1901-1954, undated (boxes 4-5, OV 12-21; 1.4 linear feet)

Series 6: Scrapbooks, 1901-1954, undated (boxes 6, 9-11; 1.5 linear feet)

Series 7: Business and Financial Papers, 1923-1954 (box 6; 0.3 linear feet)

Series 8: Photographs, circa 1897-1908, 1920-1952 (boxes 6-8, 10; 1.3 linear feet)

Series 9: Printed Material, 1931-1955 (boxes 8, 10; 0.2 linear feet)
Biographical Note:
Reginald Marsh was born in Paris on March 14, 1898. His father, Fred Dana Marsh, was a well-known muralist, and his mother, Alice Randall Marsh, was also an artist who painted miniature watercolors. Marsh returned with his family to the United States in 1900 and grew up in Nutley, New Jersey.

After graduating from Yale University in 1920, Marsh moved to New York, where he worked as an illustrator for the New York Evening Post and Herald, Vanity Fair and Harper's Bazaar. Beginning in 1922, he worked as staff artist at the New York Daily News doing a cartoon review of vaudeville and burlesque. During the 1920s, he designed theater curtains for the Greenwich Village Follies and other theater productions, and became one of the original cartoonists at The New Yorker after it was founded in 1925, actively working for the magazine until 1931 and regularly contributing drawings from time to time after that.

In 1923, Marsh married Betty Burroughs, who was the daughter of the curator of painting at the Metropolitan Museum of Art and herself a sculptor. They divorced in 1933, and he married his second wife, Felicia Meyer, a landscape painter, in 1934.

In the early 1920s, Marsh began to study painting and attended classes taught by John Sloan and Kenneth Hayes Miller, among others, at the Art Students League in New York. He made several trips to Europe, once in 1925-1926 and again in 1928, to study the old masters in the museums. In 1929, he began to paint in egg tempera. He also worked in watercolor, painting several large compositions in 1939-1940. In the 1940s, he studied the "Maroger medium" with Jacques Maroger and began to use this emulsion technique in his paintings. In addition to painting, he also worked in lithography, etching, and engraving.

Marsh had his first one-man show of oils and watercolors at the Whitney Studio Club in 1924 and another show of lithographs there in 1928. He had one-man shows of his watercolors at the Valentine Dudensing Galleries in 1927, the Weyhe Gallery in 1928, and the Marie Sterner Galleries in 1929. In 1930, he had his first show of paintings at the Rehn Galleries, where he regularly exhibited for the next two decades.

In 1935 and 1937 respectively, Marsh was commissioned by the Treasury Department Art Program to paint two murals in the Post Office Department Building in Washington, D.C. and a series of murals in the rotunda of the Customs House in New York. Beginning in 1935, Marsh taught drawing and painting at the Art Students League. In the summer of 1946, he was guest instructor at Mills College, Oakland, California, for six weeks. In 1949, he was appointed head of the Department of Paintings at Moore Institute of Art, Science, and Industry, Philadelphia and taught advanced painting there in 1953-1954.

Beginning in the mid-1930s, some of Marsh's art work began to be reproduced on greeting cards issued by the American Artists Group and Living American Art, Inc. He also did illustrations for editions of Theodore Dreiser's Sister Carrie (1938), John Dos Passos's USA (1945) and Adventures of a Young Man (1946), and Mark Twain's The Prince and the Pauper (1946), among others. He continued to do freelance illustrations for magazines, including Esquire, Fortune, and Life. Notably, he served as an artist correspondent for Life during the Second World War, and traveled to Brazil in 1943 to draw the army installations there.

Marsh was the recipient of various awards throughout his career, including the M. V. Kohnstamm Prize from the Art Institute of Chicago in 1931, the First W. A. Clark Prize and Corcoran Gold Medal from the Corcoran Gallery of Art, Washington, D.C., in 1945, and the Gold Medal for Graphic Arts of the National Institute of Arts and Letters in 1954.

Marsh died of a heart attack in Dorset, Vermont on July 3, 1954.

This biographical note draws heavily from information originally printed in the catalogue of the Reginald Marsh Retrospective Exhibition organized by the Whitney Museum in 1955.
Related Material:
The Archives holds several collections of different provenance that relate to Reginald Marsh, including Felicia Meyer Marsh and Meyer Family Papers (available on reels 2082, 2087-2090, and 4474-4475), Fred Dana Marsh illustrated letters (available on reel 3134), Norman Sasowsky Research Material on Reginald Marsh (partially available on reels 1195 and 1463-1464), and Reginald Marsh Printed Material, consisting of two yearbooks from Lawrenceville School donated by Alvin Macauley who was a classmate of Marsh (not available on microfilm). In addition, a portion of the materials loaned and microfilmed in 1963 on reel NRM 19, including several small paintings, are housed in the Pierpont Morgan Library.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Some of the material loaned for microfilming in 1963, including the bulk of Marsh's sketchbooks and some anatomy sketches, was subsequently donated to the Metropolitan Museum of Art, New York Public Library, and Whitney Museum of American Art. Other loaned material, including several small paintings, was from the Pierpont Morgan Library. Most of the files of clippings that were donated to AAA with Marsh's papers were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library in 1979. Even though this material is not technically part of the collection housed in AAA, copies are available on microfilm reels NRM3-NRM17 (sketchbooks and sketches), NRM 19 (material from the Pierpont Morgan Library), NRM 20 (small paintings), and 2233-2234 (clippings). A portion of the material donated to AAA with the Reginald Marsh papers has been separated to create a new collection of Felicia Meyer Marsh and Marsh Family papers. Loaned and transferred material is not described in this finding aid.
Provenance:
A large portion of the Reginald Marsh papers, including diaries, notebooks, sketchbooks, and photograph albums, was lent for microfilming in 1963 by Marsh's wife, Felicia Meyer Marsh. Some, but not all, of this material was subsequently donated to AAA in 1979, after the death of Mrs. Marsh, along with some additional material, including notebooks, scrapbooks, biographical and printed material. Another portion of the collection, comprised mainly of correspondence and a catalog of Marsh's art work, was donated in 1964. Three items of Marsh juvenilia were donated in 1984 by Alice Heffernan. Sketches that Mrs. Marsh bequeathed to the Whitney Museum were donated to AAA by the museum in 1987, along with 5 sketchbooks previously lent. Later gift portions were microfilmed.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Reginald Marsh 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.
Topic:
Etchers -- New York (State) -- New York  Search this
Muralists -- New York (State) -- New York  Search this
Illustrators -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Painting, American  Search this
Painting -- Technique  Search this
Genre/Form:
Photographs
Diaries
Sketchbooks
Citation:
Reginald Marsh papers, 1897-1955. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.marsregi
See more items in:
Reginald Marsh papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-marsregi
Online Media:

Good Shepherd

Maker:
Diane Victor, born 1964, South Africa  Search this
Medium:
Smoke on paper
Dimensions:
Framed: 162.2 × 113.5 × 7.7 cm (63 7/8 × 44 11/16 × 3 1/16 in.) Sheet: 149 × 102.1 cm (58 11/16 × 40 3/16 in.)
Type:
Drawing and Collage
Geography:
South Africa
Date:
2012
Topic:
male  Search this
sheep  Search this
house  Search this
Credit Line:
Museum purchase
Object number:
2016-16-1
Restrictions & Rights:
Usage conditions apply
Copyright:
© 2012 Diane Victor
See more items in:
National Museum of African Art Collection
On View:
NMAfA, The Sylvia H. Williams Gallery
Data Source:
National Museum of African Art
GUID:
http://n2t.net/ark:/65665/ys7359ef193-feb1-4c4c-91a9-e34f94dbdf6b
EDAN-URL:
edanmdm:nmafa_2016-16-1

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