Metropolitan Museum of Art (New York, N.Y.) Search this
Extent:
6 Photographs
Container:
Box 18
Type:
Archival materials
Photographs
Photographs
Collection Restrictions:
Open to researchers by appointment. Contact Photograph Archives, Smithsonian American Art Museum by email: sapa@si.edu.
Collection Rights:
The photographs are owned by the Smithsonian American Art Museum and requests for permission to reproduce photographs from the collection must be submitted in writing to the Photograph Archives. Certain works of art, as well as the photographs of those works of art, may be protected by copyright, trademark, privacy or publicity rights, or other interests not owned by the Smithsonian American Art Museum. It is the applicant's responsibility to ascertain whether any such rights exist, and to obtain any other permission necessary to reproduce and publish the image.
Collection Citation:
Metropolitan Museum of Art Study Collection of American Sculpture Photographs, Photograph Archives, Smithsonian American Art Museum.
Transcripts and handwritten drafts of interviews of 86 artists and architects associated with the National Academy of Design, conducted by Lockman. Also included are a few biographical sketches.
Interviewees include: Mrs. Edwin Austin Abbey, Wayman Adams, Robert I. Aiken, Ernest Albert, Alonzo R. Beal, Edward A. Bell, Edwin H. Blashfield, Roy H. Brown, George E. Browne, Arnold Brunner, Alexander S. Calder, Carleton T. Chapman, Benjamin West Clinedinst, Alphaeus Cole, Timothy Cole, Irving E. Couse, Robert B. Crane, Charles C. Curran, B. Franklin De Haven, William R. Derrick, Louis P. Dessar, Thomas W. Dewing, Frederick I. Dielman, Edward Dufner, John W. Dunsmore, Jared B. Flagg, John G. Flanagan, August R. Franzen, Daniel C. French, Sherry E. Fry, Edward Gay, Cass Gilbert, Walter Granville-Smith, Chester Harding, Childe Hassam, Charles W. Hawthorne, William H. Howe, Henry S. Hubbell, William H. Hyde, William S. Jewett, Francis C. Jones, Dora Wheeler Kieth, William Fair Kline, Jonas Lie, Louis Loeb, Will H. Low, Edward McCartan, Frederick MacMonnies, Herman A. MacNeil, Gari Melchers, Francis Luis Mora, H. Siddons Mowbray, Raymond P. R. Neilson, George G. Newell,Robert H. Nisbet,
Ivan G. Olinsky, Willard Dryden Paddock, Walter L. Palmer, Arthur Parton, William McGregor Paxton, Ernest C. Peixotto, Joseph Pennell, Edward H. Potthast, Henry Prellwitz, Wilhelm F. Ritschel, Henry Rittenberg, Frederick Roth, Carl Rungius, Emily Sartain, John Sartain, William Sartain, Henry B. Snell, Robert Spencer, Egerton Swartwout, Douglas Volk, Bessie & Robert Vonnoh, Horatio Walker, Harry Watrous, Adolph Weinman, Charles D. Weldon, William Whittemore, Irving Wiles, Frederick B. Williams, and Cullen Yates.
Biographical / Historical:
DeWitt Lockman was a portrait painter, New York, N.Y. He studied in Europe, 1891-1892 and 1901-1902; a pupil of James H. Beard, Nelson N. Bickford and William Sartain; and was president of the National Academy of Design and records secretary of the New York Historical Society.
Provenance:
Lent 1973 by the New York Historical Society.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Artists -- United States -- Interviews Search this
Architects -- United States -- Interviews Search this
An interview of Peter Agostini conducted in 1968, by Colette Roberts, for the Archives of American Art at 151 Avenue B, New York, New York.
Mr. Agostini speaks of his childhood spent living throughout the five boroughs of New York; his interactions with clients of his father's acting employment agency; his early education in Catholic school and the creative freedom allotted by the nuns; his first feelings of isolation as an artist at the age of seven; the development of a sense of communication as the result of the loss of his mother at the age of three and time spent at a school for orphans; his early realization and vision of artistic destiny; his religious interests which lead to mysticism in his earlier work; his time spent working freely in the DaVinci Studio with Spaventa; the discovery by Hess of his works in Gallerie Grimaud; his attainment of the Longview Grant; his working experience throughout the Depression as part of the WPA casting plaster mannequins while working indirectly with Pollack as well as Marca Relli; his subsequent move to designing department store windows (use of Mondrian-like forms and lines); his feelings of his position as an observer; the importance of communication through art (communication without words); his rejection of the Abstract Expressionist group and choice of independence; the influence of the sculpture of Kolbe and Bache in the thirties; Clement Greenberg's distaste for his work; his feelings about the relative failure to sell his work due its unusual edginess and mystery; his role in the introduction of the work of contemporary European artists (Chausserian, Gauthier, Modrian) to the American group; his description of his own work as "traditionless"; his feelings of self-importance as one of the most original sculptors in the art world; his influence on the younger generation, particularly Marisol; the enslavement to originality that the younger generation faces; his attitudes towards American Art forms and their lack of rebellious spirit; the virtues of the American writers, such as Poe, Whitman, and Melville as American "knapsack" writers; his personal technique which places an emphasis on the "skin" or volume of something; his attempt to create quiet art, or art that merely indicates features; his frustration with teaching and the problems of regurgitated knowledge; the role of Meyer Shapiro in his teaching career at Columbia; the formation of the Club and its similarity to the Cubist's café scene; his opinions on the relationship of sex and sensuality in American art; his personal struggles, including the loss of his second wife and two of his brothers, in addition to the estrangement of his only daughter by his first wife; his feelings on the role of psycho analysis and personal history in a work of art; his present works which feature the "swell." For the majority of the second half of the interview Ms. Roberts asks Mr. Agostini to express his opinions on the work of: Kline; DeKooning; Duchamp; Oldenburg; La Tour; DeChirico; Maillol; Pompon; Rothko; Chardin; Cezanne; Giacometti; Reinhardt; Chryssa; Tony Smith; Segal; Lachaise; Zorach; Manship; Flannagan; Kelly; Lassaw; David Smith; Hare; Lipton; Ferber; Lippold; Roszak; Nakian; Noguchi; Hague; Kohn; di Suvero; Chamberlain; Kaprow; Sugarman; Stankiewicz; Bontecou; Scarpitta; Cornell; Keinholz; Rivera; Judd; Robert Morris; O'Keeffe; Samaras; Mark Tobey; Marin; Pollock; Hartley; Dove; Macdonald-Wright; Demuth; Sheeler; Hopper; Mirot; Matisse; DuBuffet.
Biographical / Historical:
Peter Agostini (1913-1993) was a sculptor from New York, New York.
General:
Originally recorded on 3 sound tape reels. Reformatted in 2010 as 28 digital wav files. Duration is 10 hrs., 37 min.
Transferred from 4 3" reels.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics, and administrators.
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
An interview of Eugenie Gershoy conducted 1964 Oct. 15, by Mary McChesney, for the Archives of American Art's New Deal and the Arts Oral History Project.
Gershoy speaks of her background and education; studying under John Flannagan at the Art Students League; working for the WPA Federal Art Project in New York City; sculptors she associated with; her involvement in protest demonstrations; her feelings about government support for the arts; and her post-FAP career.
Biographical / Historical:
Eugenie Gershoy (1901?-1983 or 6) was a sculptor from New York, N.Y.
Provenance:
This interview conducted as part of the Archives of American Art's New Deal and the Arts project, which includes over 400 interviews of artists, administrators, historians, and others involved with the federal government's art programs and the activities of the Farm Security Administration in the 1930s and early 1940s.
Restrictions:
Transcript available on the Archives of American Art website.
Occupation:
Sculptors -- New York (State) -- New York Search this
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.
Scope and Contents:
The Jane Wade papers regarding art dealer and New York gallery owner Curt Valentin, measure 0.6 linear feet and date from 1903-1971. This small collection consists of papers donated by former Curt Valentin Gallery employee Jane Wade, which provide scattered documentation of Valentin's life and exhibitions at the Buchholz Gallery (renamed Curt Valentin Gallery in 1951) including biographical material, correspondence from artists Valentin represented, writings and notes, lists documenting clients, exhibitions held, and artwork by Picasso sold by the gallery, clippings of obituaries for Valentin, and a complete set of Buchholz Gallery exhibition catalogs from 1937-1948.
Valentin's biographical material is in German and includes his baptismal certificate, a report book from Hamburg University, a letter of recommendation from Commetersche Kunsthandlung, a 1937 permit authorizing Valentin to buy and sell the work of German artists outside Germany, and his 1950 passport.
Valentin's correspondence is primarily with artists and includes letters from Ben-Zion, Reg Butler, Alexander Calder, Jan Cox, Lyonel Feininger, John Flannagan, Barbara Hepworth, Karl Knaths, Gerhard Marcks, André Masson, Henry Moore, Clifford Odets, Carl Pickhardt, Alton Pickens, John Piper, Kurt Roesch, and Graham Sutherland. There are also photocopies of three letters in German from Georg Kolbe. Many of the letters are substantial and provide details about the artists and their work. Also found are a letter vouching for Valentin's loyalty to the United States from Alfred Barr, and two 1942 letters from France from art dealer Henry Kahnweiler, containing news of European artists including Picasso and André Masson.
Jane Wade's correspondence extends to her time working for Otto Gerson at Fine Arts Associates, and includes letters from some of the artists whose work was handled by Curt Valentin, including Alexander Calder, Lois Dailey, and Henry Moore. There are also thirteen letters and telegrams from David Smith, with some responses from Jane Wade and Otto Gerson, which document exhibitions and details of his artist-dealer relationship with Gerson and include sketches of his sculpture with information about prices. Also found in Wade's correspondence are letters from Gertrude Lennart and Marino Marini. Lennart describes the last days of Valentin's life as she accompanied him on a visit to Marini in Italy in August 1954.
There are three folders of condolence letters written upon Valentin's death, from artists, museum and gallery professionals, and other colleagues and friends.
Writings and notes include two appreciations of Valentin written after his death by André Masson and Henry Moore, and a sheet of notes written by John Flannagan with an accompanying note entitled "Some of Johns' thoughts...."
Printed material is comprised of news clippings of obituaries and reviews of a memorial exhibition for Valentin, in addition to a complete set of bound exhibition catalogs for Buchholz Gallery from 1937-1948. Also found is a bound collection of 1929 exhibition catalogs for Galerie Alfred Flechtheim.
Artwork includes a Christmas card from Valentin designed by an artist whose name is illegible; a print by Gerhard Marcks; and a colored pencil sketch of "127 Evil Eye II" on Curt Valentin letter head, with an address on the Rue de Seine written beside it.
Photographs include two of Valentin in his gallery and two of an unidentified woman, possibly Jane Wade, in the gallery; a folder of photographs of Valentin's apartment showing his art collection; a photo of a Robert Osborn cartoon about Valentin; and a photo of "Portrait of Curt Valentin" by Jacques Lipchitz.
Arrangement:
The collection is arranged as a single series.
Series 1: Jane Wade Papers Regarding Curt Valentin, 1903-1971 (0.6 linear feet; Boxes 1-2)
Biographical / Historical:
Born in Germany in 1902, modern art dealer Curt Valentin immigrated to the United States in 1937 where he opened the Buchholz Gallery on West Forty-sixth Street in New York city. After two years he moved the gallery to West Fifty-seventh Street and in 1951 it was renamed the Curt Valentin Gallery.
Valentin's first job was with Alfred Flechtheim, the leading dealer in modern art in Berlin at that time. In 1934 he began working with Karl Buchholz in Hamburg, selling modern art classified as degenerate by the Nazi government from the rear of Buchholz's bookstore. In 1937 Valentin was granted a permit from the Reichskammer der bildenden Kunste in Berlin to purchase and sell German artwork outside of Germany. He left Germany that same year with a number of pictures and came to the United States.
Valentin was a widely respected dealer who specialized in modern paintings, sculpture, and prints, and handled the work of major artists including Alexander Calder, John Flannagan, Gerhard Marcks, Marino Marini, and Henry Moore.
Valentin died suddenly of a heart attack at the age of 52, while visiting Mario Marini in Italy in 1954.
Jane Wade was employed as Valentin's assistant and continued to help run the Curt Valentin Gallery after his death, until it closed in 1955. She then worked for Otto Gerson at Fine Arts Associates, where she helped to handle the works of some of the artists previously represented by Valentin.
Related Materials:
The bulk of Curt Valentin's papers are held by the Museum of Modern Art Archives.
Provenance:
The Jane Wade papers were donated by Jane Wade in 1976. The catalogs of exhibitions organized by Curt Valentin were donated in 1977 by Jane Wade. In 2018 the two collections were merged and named the Jane Wade papers regarding Curt Valentin.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Gallery owners -- New York (State) -- New York Search this
Art dealers -- New York (State) -- New York Search this
REEL D34: Material collected by Stevens, in answer to his requests for information for his projected book, "Autobiography of Modern Artists." Included are letters, notes, photographs, articles, exhibition annoucements, clippings and biographical data. Included among the photos are Alson Clark, Leon Dabo, John Flanagan by Ording, Lillian Genth by Haeseler, H. Siddons Mowbray by Rockwood, and Adolf A. Weinman by De Witt Ward, ca. 1905-1910.
REEL 3472: A letter to Stevens, from Fernand Harvey Lungren, Jan. 9-15, 1911, describing his art background, his work in the Southwest, California, and the desert, and his hope to show Stevens his paintings in Toledo.
Biographical / Historical:
Museum director; Toledo, Ohio. Stevens was the first director of the Toledo Museum of Art.
Provenance:
Donated 1954 & 1976 by the Toledo 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.
Material relating to Simons' activities as student and sculptor in Paris, and later as instructor in California, including: receipt for tuition payment at Academie Julian, Paris; membership card to the American Art Association of Paris; letters from John Flanagan, Paul Wayland Bartlett, his cousin A. Felix Du Pont, Santa Barbara School of the Arts, and others; and photographs of Simons and his sculpture.
Biographical / Historical:
Animal sculptor, equestrian sculptor.
Provenance:
Donated 1978 and 1979 by Douglas Hyland. Hyland's wife is a distant relative of Simons.
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.
REEL 3621: aFive letters and a receipt from Mr. and Mrs. Saint-Gaudens in Windsor, Vt. to Mrs. Frederick Ferris Thompson in Canandaigua, N.Y, discussing employing Saint-Gaudens's student, John Flanagan, to obtain for Mrs. Thompson a copy of the "Discobolus" in the Louvre and the bust Saint-Gaudens is making of Mr. Thompson. The receipt is for the final payment for the bust. One letter is from Mrs. Saint Gaudens explaining that they will be unable to visit the Thompsons since Mr. Saint-Gaudens is unable to travel.
REEL D10: Three letters from Saint-Gaudens to Mr. Keep, June 6, 1891, asking him to visit the studio; to Florence Levy, June 29, 1901 and April 30, 1906, concerning photographs she requested of a portrait of Saint-Gaudens's son by John Singer Sargent; and to an unidentified individual, November 20, 1891.
Biographical / Historical:
Sculptor; Windsor, Vt. Mrs. Frederick Thompson, the recipient of these letters, employed Saint-Gaudens to make a portrait medallion of her husband. The work is now in St. Anthony Hall, a fraternity house at Williams College in Williamstown, Mass. Saint-Gaudens died a year after completing this.
Provenance:
Material on reel 3621 lent for microfilming by S. Lane Faison, Director of the Williams College Museum of Art. Levy letters on reel D10 purchased with funds given by Charles Hamilton 1956. Other letters on reel D10 donated by Charles E. Feinberg, an active donor and friend of AAA.
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.
Research material on sculptor John Bernard Flannagan gathered in preparation for Forsyth's Ph.D dissertation on Flannagan (Univ. of Minnesota, 1965) and for an incomplete catalog raisonne. Included are photocopies of letters from Flannagan to the Works Progress Administration regarding his dismissal, 1933-1934; Forsyth's correspondence with Flannagan's acquaintances, collectors, art historians, and dealers, 1955-1987; an incomplete typescript of the catalogue raisonne, and other writings on Flannagan by Forsyth; notes and notebooks; research files including interviews, notes and printed material; exhibition catalogs and clippings, 1931-1976; and 1.0 linear ft. of photographs and negatives of Flannagan's art work.
Biographical / Historical:
Art historian; Eden Prairie, Minn. Flannagan was an American sculptor and engraver, 1895?-1942.
Related Materials:
Correspondence of Robert J. Forsyth, 1960-1961, is also located at University of Pennsylvania Libraries, Van Pelt Library.
Provenance:
Donated 1991 by Forsyth.
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.
Notebooks compiled by Fletcher listing prints by artists John Castigan, John Flannagan, Ruth Gannett, Gordon Grant, Norman Kent, Troy Kinney, Clare Leighton, Barry Moser, Chauncey Ryder, Benton Spruance, Walter Tittle and Keith Shaw Williams; and research material on Gerald Leslie Brockhurst and Benton Spruance. Brockhurst material includes correspondence, biographical sketches, notes, lists of works, a draft of Fletcher's catalog Complex Simplicity: Gerald Leslie Brockhurst and his Graphic Work, printed material, reproductions and photographs of work, and photographs of Brockhurst, his models and others;
the Spruance material includes an obituary, 2 letters to Spruance from Carl Zigrosser, 1934, and letters between others regarding the sale of his prints; a typescript by Fletcher, "In My Orb of Gold: The Life and Work of Benton Spruance," 1980; writings by Spruance; printed material, 1929-1986, including exhibition catalogs and announcements, newspaper clippings, and other printed material; and photographs of Spruance and his works of art.
Biographical / Historical:
Priest, art historian; Connecticut. Taught at Sacred Heart University in Fairfield, Connecticut. Author of a catalog raisonne on Gerald Leslie Brockhurst's etchings.
Related Materials:
Notes of William Dolan Fletcher, 1971, are also located at the Fairfield Historical Society Library.
Provenance:
Donated 1990 James J. Gentile, a friend of Fletcher, and executor of his estate. The material on Benton Spruance was donated by Robert M. Vogel, 1991, who received it from Fletcher's estate; the notebook on Keith Shaw Williams was donated by William Greenbaum, 1991, who also received it from Fletcher's estate.
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.
Biographical and exhibition data; a list of works; correspondence; a journal; notes and writings; notes by Magherita Flannagan; typescripts of a catalogue preface by Carl Zigrosser and a preface to Flannagan's letters by W. R. Valentiner; an application for a Guggenheim fellowship; a contract; sketches; exhibition catalogues and invitations; and printed material.
Biographical / Historical:
Sculptor and engraver (New York, N.Y.)
Provenance:
The donor, Margherita Flannagan Montgomery, is John Bernard Flannagan's widow. The papers were received via Anner M. Whitehead, who used the papers in his research on Flannagan.
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.
Topic:
Sculptors -- New York (State) -- New York -- Interviews Search this
An interview of Adolf Dehn conducted by Dorothy Gees Seckler between 1963 January 23-1964 Febuary 29 for the Archives of American Art.
Dehn speaks of his art training; military service; his drawings for "The Masses," "The Dian," "Playboy," "Broom," "Vanity Fair," and other publications; odd jobs; his European travels; his first wife, Mura Ziperovitch; the influence of Jules Pascin, George Grosz, and Mayan art upon his work; his use of batik, lithography, watercolor, crayon-wash, casein, and gouache; exhibitions as Weyhe Gallery in New York City; and Federal Art Projects. He recalls Arnold Blanch, John Flanagan, Wanda Hazel Gág, Boardman Robinson, and others.
Biographical / Historical:
Adolf Dehn (1895-1968) was a painter and lithographer in New York, New York.
General:
Originally recorded on 6 sound tape reels. Reformatted in 2010 as 7 digital wav file. Duration is 4 hr., 4 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Lithographers -- New York (State) -- New York -- Interviews Search this
Painters -- New York (State) -- Interviews Search this
Correspondence with family, artists, and others, 1887-1925; legal and financial documents, 1887-1925; printed materials, 1888-1925; sketches, drawings, and blueprints, undated 1916-1920; and certificates, 1915-1918.
Correspondence consists of a chronological series, 1887-1925, containing letters and postcards from John White Alexander, Samuel P. Avery, William A. Clark, Frank Edwin Elwell, John Flanagan, Daniel Chester French, Henry-Bonnard Bronze Company, Gorham Company, J. Scott Hartley, John LaFarge (undated), Charles Loring, Frederick MacMonnies, Charles Sprague Pearce, Auguste Rodin, Frederic Wellington Ruckstull, Augustus Saint-Gaudens, and scattered letters from other nineteenth century artists regarding the execution of works, commissions, exhibitions and expositions in Paris and the United States, among them the Louisiana Purchase Exposition (1904) and the Exposition Universale (1899-1900), and Bartlett's illness and death in 1925.
The remainder of the correspondence, arranged by subject, includes letters from Bartlett's father, Truman Howe Bartlett, 1899-1913, many written from Boston where he taught in the architecture department of MIT, or from New Hampshire where he kept a studio, and letters to Paul regarding his father's entry in the National Cyclopedia of American Biography, 1925; correspondence with the American Club of Paris, 1903-1906, regarding Bartlett's membership; correspondence with the International Society of Sculptors, Painters and Gravers, 1905-1907 (some from Joseph Pennell) regarding exhibitions; correspondence regarding commissions, including Lafayette, McClellan, General Warren, Library of Congress and other statues; postcards from artists, 1892-1895; and miscellaneous letters.
Legal documents relate to the Lafayette statue, 1900, and also include Bartlett's death certificate. Financial records, 1899-1922, consist of bank statements, checkbooks, bills and receipts for casting, photography, dues and rent. Clippings and a scrapbook deal with Bartlett's Lafayette statue. Other printed material includes articles on various Bartlett sculptures and other sculptors, exhibition catalogs, passes and announcements, yearbooks from the American Club of Paris, 1905-1909, and material from the American Art Association of Paris, including a 20 p. booklet by Bartlett giving the history of the group, and an invitation, 1906, to an auction to benefit the victims of the San Francisco earthquake.
Also included are sketches by Bartlett and his father, undated and ca. 1913; oversized drawings, plans and prints for monuments, statues, and the Capitol ceiling, undated and 1916-1920; postcards depicting Bartlett's sculpture; and certificates from the National Academy of Design and the Panama Pacific International Exposition.
Biographical / Historical:
Sculptor and portraitist; Paris, France and Washington, D.C. Bartlett was born in Connecticut and raised in France where he entered the Ecole des Beaux Arts and also studied under Emmanual Fremiet and Auguste Rodin. His early sculpture focused on animals and his piece "Bear Tamer" was presented to the Metropolitan Museum of Art in 1891 and exhibited in the World's Columbian Exposition in 1893. After 1895, he produced a number of public monuments, sculptures, and historical portraits including the figures of Columbus and Michelangelo for the Main Reading Room of the Library of Congress, the Lafayette statue presented to France, and the pediment for the House wing of the U.S. Capitol. Bartlett died in Paris of blood poisoning on September 20, 1925.
Related Materials:
Additional Paul Wayland Bartlett papers also located at: Library of Congress, Manuscript Division.
Provenance:
Lent for microfilming by the Tudor Place Foundation, Inc., 1994. The Tudor Place Foundation inherited the papers in 1994 with the estate of Armistead Peter III of Tudor Place. Peter III was married to Caroline, the daughter of Bartlett's wife by her first marriage to Mahlon Odgen-Jones. After Bartlett's death in 1925, Suzanne cared for his papers, and donated the bulk of them to the Library of Congress in 1954. The papers she retained passed on to Caroline, and at her death to Armistead Peter III.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
