Correspondence is with Asian art scholars and collectors, museums, galleries, universities, and art dealers, and includes letters, cards, and postcards received, as well as several outgoing letters from Singer. Topics of conversation include loan requests and viewings of Singer's collection; Chinese art object consultations; notices of items of interest up for auction; ongoing discussions of the disposition of Singer's collection upon his death; and publication of and edits to his collection catalog project.
The following list is selective and represents about seventy-five percent of the individuals who corresponded with Paul Singer.
Bahr, Edna H.
Barnard, Noel (The Australian National University)
Beach, Milo C. (Arthur M. Sackler Gallery)
Bernat, Paul
Brinker, Helmut H. (Fogg Art Museum)
Brundage, Avery
Bulling, Anneliese Gutkind
Bunker, Emma C.
Bush, George, President
Capon, Edmund (Victoria & Albert Museum)
Caro, Frank (C.T. Loo--gallery)
Chait, Ralph M.
Chang, Kwang-chih (Yale University)
Chase, Thomas W. (Freer Gallery of Art)
Cheung, Kwong-yue (The Australian National University)
Chow, Fang (Metropolitan Museum of Art)
Chu, Jen-hsing (National Palace Museum)
Cleveland, Richard S. (The Saint Louis Art Museum)
Cox, Warren E.
Crawford, John M., Jr.
D'Argence, Ivon (M.H. de Young Memorial Museum)
Dohrenwend, Doris J. (The Royal Ontario Museum)
du Boulay, Anthony (Christie's, New York)
Eskenazi, J.E.
Fontein, Jan (Museum of Fine Arts, Boston)
Fu, Marilyn (Princeton University)
Fu, Shen (Freer Gallery of Art)
Gettens, Rutherford J.
Getz, Joel
Gichner, Lawrence E.
Goepper, Roger (Museum fur Ostasiatische Kunst)
Gray, Basil (British Museum)
Grisdale, Dick and Marjorie
Gyllensvard, Bo
Hathaway, Calvin S. (The Cooper Union)
Hayashi, Minao (Kyoto University)
Higuchi, T. (Kyoto University
Hippen, Will, Jr. (Fine Arts Gallery of San Diego)
Huber, Louisa G. Fitzgerald
Hsu, F. Richard (China Institute in America)
Kahane, Andrew
Keene, Manuel D.
Kelley, Clarence W. (The Dayton Art Institute)
Kimpel, Ben (Drew University)
Kuwayama, George (L.A. County Museum of Art)
Lally, James (Sotheby Park Bernet)
Lee, Sammy Yukuan (Oriental House, Ltd.)
Lee, Sherman E. (The Cleveland Museum of Art)
Levitan, Kit Carson Bennett
Little, Stephen (The Cleveland Museum of Art; Asian Art Musuem of San Francisco)
Loehr, Max (Fogg Art Museum)
Loekl, Greta Schreyer
Loh, Pichon P.Y. (Upsala College)
Maeda, Robert J. (Brandeis University)
Mackay, Colin J. D. (Sotheby's, London)
Marumoto, Shinichi (Kadansha Publishers)
Matsumoto, Helen L.
Mino, Yutaka
Mowry, Robert D. (The Asia Society)
Neill, Mary Gardner (Yale University Art Gallery)
Poor, Richard (University of Minnesota)
Proctor, Patty (Royal Ontario Museum)
Ravenal, Richard S. (Asian Gallery)
Rawson, Jessica (The British Museum)
Reynolds, Valrae (The Newark Museum)
Riddell, Sheila
Rockefeller, John D., 3rd
Rockefeller, Mrs. John D. (Blanchette)
Sackler, Arthur M.
Sackler, Jill
Sackler, Marietta Lutze
Scott, Hugh (U.S. Senate)
Schloss, Ezekiel
Shangraw, Clarence F. (Asian Art Museum of San Francisco)
Shen, Yusen
Sickman, Laurence (Nelson-Atkins Museum of Art)
Singer, Erwin
So, Jenny
Spelman, Ruth (C.W. Post Center)
Sullivan, Michael (Univ. Of Malaya in Singapore)
Swann, Peter C. (Museum of Eastern Art, Oxford)
Thote, Alain
Trousdale, William (U.S. National Museum)
Trubner, Henry (The Royal Ontario Museum)
Tsang, Shu-ping Teng (National Palace Museum)
Tsiang, Katherine R.
Tung, Tom Wu (Museum of Fine Arts, Boston)
Umehara, Sueji
Vannotti, Franco
Veit, Willibald
Wardwell, Allen (The Asia Society)
Washburn, Gordon B. (The Asia Society)
Waterbury, Florance
Watson, William (Percival David Foundation of Chinese Art, Univ. Of London)
Whitfield, Roderick (Princeton University)
Wilson, Marc F. (Nelson-Atkins Museum of Art)
Wu, Tung (Museum of Fine Arts, Boston)
Ziebold, Thomas O. (Braddock Services Inc.)
Woodward, Hiram W., Jr. (The Walters Art Gallery)
Yuey, Joe
Arrangement:
The bulk of the files are arranged alphabetically by correspondent or corresponding institution. Numerous copies made after the receipt of the collection are of select letters and postcards and have not been further sorted.
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
The Paul Singer Papers. FSA.A1991.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
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.
Collection 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.
Collection Citation:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
Letters to Alice Klauber from Walter Pach and Robert Henri about art activities; letters to Klauber and Edgar L. Hewett regarding the Panama-California Exposition of 1915-1916 in San Diego; and a few letters from William Zorach, Pierre Matisse and Wayman Adams regarding exhibits at the Fine Arts Gallery of San Diego. All letters are copies.
The 19 letters from Pach, 1907-1929, regard arrangements for Klauber to attend the Chase School in Italy (Pach was a manager/instructor), and his travels and work in Italy, Belgium, and Paris. Henri, writing 1912-1918, in 34 letters, discusses Maratta's color system, trips to Ireland, California, and Santa Fe, his health and work. The series concerning the Panama- California Exposition of 1915-1916 comprise mainly letters and telegrams to the art department chair Edgar L. Hewett from artists George Bellows, Arthur B. Davies, William Glackens, Bertram Hartman, Childe Hassam, Henri, Marjorie Organ (Mrs. Robert Henri), George Luks, Ernest Lawson, Maurice Prendergast, Joseph Henry Sharp, and John Sloan regarding their work, and a few to Klauber on her work for the exposition.
Biographical / Historical:
Painter, curator, San Diego, Calif. Klauber was a member of the Women's Board of the Panama-Pacific Exposition, 1915-1916, in San Diego, working on art exhibitions, actively assisted by Robert Henri and Edgar L. Hewett. Later, she was a curator at the Fine Arts Gallery of San Diego (renamed San Diego Museum of Art in 1978).
Provenance:
The donor, Henry G. Gardiner, was affiliated with the San Diego Fine Arts Gallery. He received the Pach letters from Mrs. Paul Wormser of La Jolla, California. Included with his donation were photocopies of letters to Alfred Mitchell from Mrs. Thomas Eakins which were microfilmed and described separately. Originals are owned by the San Diego Museum of Art.
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:
Museum curators -- California -- San Diego Search this
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Collection 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.
Collection Citation:
Terry Dintenfass, Inc. records, 1947-1987, bulk 1961-1983. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection 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.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The collection is open for research. Patrons must use microfilm copy. Use of the unmicrofilmed portion requires an appointment and is limited to the Washington, D.C. research facility.
Collection Rights:
The donor has retained all intellectual property rights, including copyright, that they may own.
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.
Collection Citation:
Erwin Panofsky papers, 1904-1990 (bulk dates 1920-1968). Archives of American Art, Smithsonian Institution.
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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
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.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
