The papers of artist Isabella Howland measure 1.2 linear feet and date from 1899-1979. The collection documents her career through biographical material, correspondence, personal business records, writings, printed material, artwork, and photographs.
Scope and Contents:
The papers of painter, sculptor, caricaturist, and portraitist Isabella Howland measure 1.2 linear feet and date from 1899-1979. Correspondence makes up about a third of the collection, with the remainder comprised of biographical material, writings, printed material, photographs, and artworks.
Correspondence is found between Isabella Howland and other artists or dealers. Among these are Eugenie Gershoy, Henry Strater, Edith Halpert, Peggy Bacon, Forbes Watson, Jerry Bywaters, Adolph Dehn and Dorothea Greenbaum. Letters from Juliana Force, the first director of the Whitney Museum of American Art, are present. Many invitations to exhibit are included. The collection includes a small number of letters with Howland's family. She maintained written communication with several individuals over decades.
The biographical material contains Isabella Howland's handwritten notes and typed documents about her life. Some legal documents and financial records are present. The writing series includes her story 'Willy Nilly' with accompanying illustrations of animals, in addition to some other writings. The artwork series includes sketches and sketchbooks from childhood into adulthood. Photographs include images of Howland as well as her paintings and portraits.
Arrangement:
Missing Title
Series 1: Biographical Material, 1901-1972 (4 folders; Box 1)
Series 2: Correspondence, 1917-1973 (22 folders; Box 1)
Series 3, Writings, 1935-1964 (8 folders; Box 1)
Series 4: Printed Material, 1928-1976 (5 folders; Box 1)
Series 5: Photographs, circa 1900-1979 (4 folders; Box 1, OV 2)
Series 6: Artwork, 1899-circa 1940s (8 folders; Box 1, OV 2)
Biographical / Historical:
Isabella Howland (1895-1974) lived and worked in New York City. She drew portraits, painted on canvas, sketched on paper, and sculpted caricature busts of people in the art world. She wrote that she could do anything with her hands.
Howland was born in Brookline, Massachusetts. From her youth she knew she wanted to be an artist. She had her earliest artistic training at age 16. Her art education included time at the Boston Museum School and the Art Students League in New York City. She completed her secondary education in France and Germany, moved back to the United States afterwards, and in 1920 travelled again to Europe. In 1922 she settled in Greenwich Village and spent summers in Woodstock to paint landscapes and still-lifes.
She actively painted in the 1920s, and had three shows in 1927, 1929, and 1931. During the Depression she worked for the Public Works of Art Project and the Works Progress Administration. In 1934 she married Armando Zegri, and they divorced in 1937. While they were married they owned a club in the West Village named The Café Latino. She began teaching at a private school in the early 1940s while dealing with some personal difficulties. She found religion which comforted her as she dealt with her mother's declining health and her sister's waning mental state.
Howland had many friends in the art world and regularly received requests to exhibit at museums. She became known as an accomplished portrait artist, and she was commissioned many times to execute drawings or sculptures. She dabbled in writing and illustrating stories, and produced a set of 33 Christmas cards featuring two monks.
Provenance:
Donated between 1975-1976 by Mrs. Martha Craig and Barbara Summer. Three photographs of works of art were donated by Eugenie Gershoy in 1979.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York Search this
Portrait painters -- New York (State) -- New York Search this
Caricaturists -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
The Federal Art Project, Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the Federal Art Project (FAP), 1935-1942. The collection comprises 12.4 linear feet of mostly photographic prints and negatives that document primarily artwork produced by artists employed by the FAP. A smaller number of photographs also document other programs of the FAP, such as art classes and community centers, exhibitions by children and adults, artwork installed in public buildings, project divisions, and demonstrations of art processes by FAP artists.
Scope and Content Note:
The Federal Art Project (FAP), Photographic Division collection dates from circa 1920-1965, with the bulk of the records spanning the active years of the FAP: 1935-1942. The collection comprises 12.4 linear feet of photographic prints and negatives, including photos of FAP artists and the artwork created by them, and other activities of the FAP in communities throughout New York City and other states. Photographers include Andrew Herman, Sol Horn, David Robbins, Leo Seltzer, and others.
Artist files comprise three-quarters of the collection and consist primarily of photographs of artwork, as well as scattered photos of artists at work, including: Charles Alston, Luis Arenal, Richmond Barthe, John Benson, Andrew Berger, Lucille Blanch, Lucienne Bloch, Ilya Bolotowsky, Luise Brann, Selma Burke, Letterio Calapai, Eugene Chodorow, Francis Criss, Stuart Davis, Adolf Dehn, Virginia Dehn, Jose de Rivera, George Pearse Ennis, Philip Evergood, Eugenie Gershoy, Bertram Goodman, Arshile Gorky, Marion Greenwood, Philip Guston, Donal Hord, Joseph Hovell, William Karp, Yasuo Kuniyoshi, Edward Laning, Julian Levi, Audrey McMahon, Elizabeth Olds, Anton Refregier, Will Shuster, William Zorach, and others.
The remainder of the collection consists of files documenting related activities and programs of the FAP, arranged by subject. The bulk of these files document the activities of the New York City FAP, including free art classes and art exhibitions for adults and children, exhibitions at the Harlem Art Center, and the work of FAP branches including the Easel Division, the Graphic Arts Division, and the Poster Division.
Other subjects documented include federal and community art centers in eleven states, most extensively Washington State; other WPA projects such as the Federal Theater Project, the Federal Music Project, and the Federal Writers' Project; buildings decorated with FAP artwork; art processes as demonstrated by FAP artists; special events; and people involved with the FAP, including director Holger Cahill.
One folder contains images that appear to have been taken by Berenice Abbott for the exhibition Changing New York (1935), for the Museum of the City of New York in collaboration with the WPA.
Arrangement:
The collection is arranged as 2 series:
Missing Title
Series 1: Artist Files, circa 1920-1965 (Boxes 1-24; 9.6 linear feet)
Series 2: Subject Files, 1934-1956 (Boxes 25-32; 2.8 linear feet)
Historical Note:
The Federal Art Project (FAP) was one of the Depression-era work-relief programs of the Federal Works Progress Administration (WPA). The program was founded in August 1935 to provide employment for artists and to implement visual arts programs in local communities across the country.
Together with the Federal Music Project, the Federal Theater Project, and the Federal Writers' Project, the FAP formed part of the WPA's Federal Project No. 1. The WPA became the Work Projects Administration in 1939 when it fell under the administrative hand of the newly created Federal Works Agency; concurrently the Federal Art Project was officially re-named the Federal Art Program.
Under the direction of Holger Cahill, the goals of the FAP fell into three main areas: production of artwork, art education through art classes and community centers, and art research through the Index of American Design. During the course of the program, artists created murals and other works of art for many non-Federal government buildings such as schools, hospitals, and libraries. Separate photographic divisions were set up in several states, most notably in New York City, to document the work of artists employed by the program, activities in art education such as classes for children and adults, community center outreach programs, and other "Federal 1" projects, including the Federal Theater and Music Projects. Employees of the photographic division were also involved in other assignments, such as creating exhibitions and photo murals.
The Federal Art Project ended in 1943.
Related Material:
Among the holdings of the Archives of American Art are related collections, including the Federal Art Project of the Work Projects Administration records, 1935-1948. Additional FAP records are held by the National Archives and Records Administration in Washington D.C.
Provenance:
The collection was anonymously donated to the Archives of American Art in the late 1950s.
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 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.
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
The Juliette Elkon Hamelecourt papers measure 3.1 linear feet and date from 1911-2000, with the bulk of the records dating from 1940s-2000. The papers document Hamelecourt's career through resumes, personal business records, and writings, as well as general correspondence, printed material, scrapbooks, and photographs. The collection also contains a series of interviews conducted by Hamelecourt with artists at the Chelsea Hotel in New York.
Scope and Contents:
The Juliette Elkon Hamelecourt papers measure 3.1 linear feet and date from 1911-2000, with the bulk of the records dating from 1940s-2000. Biographical material consists of resumes, notes and other writings, as well as some personal business records such as contracts, price lists, loan agreements, and consignment lists. Correspondents include customers, museums, galleries, friends, publishers, and family members and discussions regard exhibitions, sales, food, and personal matters. The collection's printed material consists of clippings about Hamelecourt, Haiti, the Chelsea Hotel, and other artists; exhibition announcements, invitations, and catalogs; press releases, newsletters, and bulletins; articles written by Hamelecourt; reproductions of her artwork; and the book jacket from Hamelecourt's Edith Cavell: Heroic Nurse (1958). Hamelecourt's scrapbooks contain a variety of material such as correspondence with museums, galleries, and family members about her life and artwork as well as correspondence for historical and cultural research purposes; photographs and slides of Hamelecourt, artwork, family, and friends; printed material; sketches; drafts of her autobiography; and biographical papers pertaining to her marriage in 1969. The collection also contains a series of interviews conducted by Hamelecourt with artists at the Chelsea Hotel including Arman, Bettina, Bernard Childs, Rita Fetcher, Eugenie Gershoy, Adolph Cook Glassgold, Maxwell Gordon, and others.
Arrangement:
The collection is arranged as 6 series.
Series 1: Biographical Material, 1972-1991 (Box 1; 7 folders)
Series 2: Correspondence, 1943-1999 (Box 1; 12 folders)
Series 3: Interviews with Chelsea Hotel Artists, circa 1980 (Box 1; 5 folders)
Series 4: Printed Material, 1943-2000 (Box 2; .8 linear feet)
Series 5: Scrapbooks, 1911-1999 (Box 2-3, OV 4; 1 linear foot)
Series 6: Photographs, 1940-1990s (Box 3; 5 folders)
Biographical / Historical:
Juliette Elkon Hamelecourt (1912-2002) was a fiber artist, tapissiere, and lecturer in Haiti, New York, and Cleveland. Hamelecourt was born in Belgium and spent her early years traveling with her father in England and China. Hamelecourt first learned needlework in China at the age of 10. After her father's death a couple of years later, she returned to live in Belgium with her grandparents where Hamelecourt worked alongside her grandmother who was a volunteer conservationist, repairing chasubles for the local clergy. Hamelecourt's early tapestries were ultimately lost or destroyed during World War II when she and her family moved to New York as refugees. Until the late 1950s she worked as a culinary editor, food consultant, and author of non-fiction, while needlework remained a hobby. Hamelecourt first visited Haiti reporting on French Caribbean cuisine in the late 1950s, and soon after moved there as a representative for the World Craft Council. In Haiti, she trained local women to embroider designs from their own environment and folklore. Hamelecourt moved to the Chelsea Hotel in New York around 1970, at this time she began receiving commissions for her work--some of which she sub-contracted to her Haitian embroiderers--and consulting as a designer. She established an embroidery workshop at the hotel with a grant from the New York Council on the Arts. Hamelecourt moved to Cleveland, Ohio in 1980.
Provenance:
The collection was donated by Juliette Hamelecourt, 1978-1997, and by the Juliette Elkon Hamelecourt estate via Leonard Spremulli in 2014.
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 born-digital records or 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:
Fiber artists -- New York (State) -- New York Search this
Tapissiers -- New York (State) -- New York Search this
Juliette Elkon Hamelecourt papers, 1911-2000. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
2.5 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Drawings
Date:
1919-1966
Scope and Contents:
Drawings, caricatures, scrapbooks, correspondence, photographs, writings, and printed material.
REELS 723-724: Two scrapbooks, 1919-1935 and 1935-1966, containing clippings, exhibition catalogs, and printed materials; and 128 letters from artists, galleries, and art organizations, including American Artists Congress, Associated American Artists Gallery, Thomas Hart Benton, Paul Cadmus, Philip Evergood, Emily Genauer, Julian Levi, Gregorio Prestopino, Zoltan Sepeshy, Moses Soyer, Raphael Soyer, William Zorach, and others.
UNMICROFILMED: Caricatures and portrait drawings by Smith of Jack Chain, Francis Criss, Stuart C. Edie, Philip Evergood, Ernest Fiene, Eugenie Gershoy, Chaim Gross, Nathan Halper, [?] Hunt, Yasuo Kuniyoshi, Julian Levi, Reginald Marsh, Jan Matulka, Concetta Scaravaglione, Irving Stone, Chuzo Tamotzu, and unidentified others. Also included is a self-portrait.
ADDITION: Ca. 40 letters; photographs, including Smith, other artists, and Woodstock, NY; draft manuscript for Smith's book, "Art and the Artist and You" (includes copy photographs of illustrations for the book); writings; exhibition catalogs and related printed material; and clippings. Ca. 35 of the letters were previously lent and microfilmed on reels 723-724.
Biographical / Historical:
Watercolor painter; New York, N.Y.
Provenance:
Material on reels 723-724 lent for microfilming 1974 by David Loeffler Smith, Smith's son. He subsequently donated the 2 scrapbooks and some correspondence from the loan, along with additional unmicrofilmed material, in 1983 and 1994.
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:
Watercolorists -- New York (State) -- New York Search this
The papers of sculptor and art instructor, Eugenie Gershoy, measure 7.2 linear feet and date from 1914 to 1983. The collection documents Gershoy's career through biographical material, correspondence, business records, notes, writings, artwork, printed material, and photographs.
Scope and Content Note:
The Eugenie Gershoy papers date from 1914 to 1983, measure 7.2 linear feet, and reflect Gershoy's career as a sculptor and teacher. The collection contains biographical material, correspondence, business records, notes, writings, artwork of Gershoy and others, printed material including exhibition catalogs, and photographs with subjects including Gershoy, her friends and colleagues, her studio, and her artwork.
Correspondence forms the bulk of the collection and includes correspondence between Gershoy and her siblings and their families regarding her activities, as well as with colleagues, many of whom were associated with the Woodstock Artist Association, and many of whom were museum colleagues.
Arrangement:
The collection is arranged into eight series according to material type. The contents of each series have been arranged chronologically.
Missing Title
Series 1: Biographical Material, 1939-1971 (boxes 1, 8-9; 3 folders)
Series 2: Correspondence, 1914-1983, undated (boxes 1-6, 8-9; 5.8 linear ft.)
Series 3: Business Records, 1952-1978 (box 6; 5 folders)
Series 4: Notes, 1967-1970, undated (box 6; 3 folders)
Series 5: Writings, 1970, undated (box 6; 2 folders)
Series 6: Artwork, 1932-1978, undated (boxes 6, 8-9, OV 10, 26 folders)
Series 8: Photographs, 1916-1983, undated (boxes 7, 9; 12 folders)
Biographical Note:
Born in Krivoi Rog, Russia on January 1, 1901, Eugenie was the youngest of the Gershoy children. The family immigrated to New York City in 1903. She later became a U.S. citizen.
With the aid of two scholarships, she attended the Art Students League and studied under A. Stirling Calder, Leo Lentelli, Kenneth Hayes Miller, Boardman Robinson, and Carl Walters. During the late 1920s and early 1930s, she maintained a studio with Harry Gottlieb in Woodstock, New York. From 1936 to 1939, under the WPA Federal Art Project, she worked in conjunction with Max Spivak on murals for the children's recreation room in the Astoria branch of the Queens Borough Public Library, New York.
Gershoy's first solo show was at the Robinson Gallery in New York in 1940. Following a year of teaching at the New Orleans Art School, she moved to San Francisco in 1942. In 1946 she taught ceramics at the California School of Fine Arts, and in May 1950, she studied at Yaddo.
In addition to visits to England and France in the early 1930s, Gershoy travelled to Mexico and Guatemala in 1947, 1948, and 1961. She worked in Paris in 1951 and toured Africa, India, and the Orient in 1955.
Eugenie Gershoy died in 1986.
Related Material:
Related material in the Archives of American Art includes a transcribed oral history interview with Eugenie Gershoy conducted by Mary McChesney for the Archives of American Art's New Deal and the Arts Oral History Program, October 15, 1964. A link to the transcript is provided from the online catalog.
Provenance:
The Eugenie Gershoy papers were donated to the Archives of American Art between 1975 and 1983 by the artist.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Draftsmen (artists) -- New York (State) -- New York Search this
Ceramicists -- New York (State) -- New York Search this
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Biographical material includes a résumé, membership cards, award certificates, and a biographical sketch. See also sol 8 for oversized biographical material.
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
Correspondence is primarily between Gershoy and family members and colleagues. Correspondence with her sister and brothers and their families discusses Gershoy's activities, including her relationships with Harry Gottlieb and Juliana Force. Correspondence with colleagues includes letters from Elizabeth Ames of Yaddo, Mildred Baker, Arnold and Lucile Blanch, Virginia Dehn, Aline Fruhauf, Agnes Hart, Frederic Knight, Josef Presser, and Virgil Thomson. There are Christmas cards from Irving Marantz, George Picken, Anton Refregier, Moses Soyer, and Raphael Soyer. Correspondence found in box 9 is primarily from museum colleagues including Alfred Barr, Adelyn Breeskin, Juliana Force, and A. Hyatt Mayor. There is also a recommendation from Anton Refregier.
See Appendix for a list of notable correspondents from Series 2.
Appendix: List of Notable Correspondents from Series 2:
Baker, Mildred: undated letters (20); May 22, 1969; [Aug 1971]; May 25, 1980; Mar 10, 1981; Mar 17, 1981; Mar 26, 1981; Jun 5, 1981; 1981 Christmas card; 1982 Christmas card
Bertoia, Harry: see Printed Material for autographed exhibition announcement
Blanch, Arnold and Lucile: undated letters (2); Jan 1975; Dec 18, 1975; 1977 Christmas card; Jan 1977; Jan 1978; also see Printed Material for exhibition announcements and catalogs; also see Photographs
Botkin, Henry and Rhoada: undated cards (5); 1973 Christmas card; Jul 29, 1974; Aug 15, 1975; 1975 Christmas card; 1976 Christmas card; 1977 Christmas card; also see Printed Material for an exhibition announcement
Breeskin, Adelyn: May 23, 1969; Dec 19, 1969; Feb 17, 1970; Nov 24, 1970; Jan 14, 1971; Feb 22, 1971; Jul 14, 1971; Sep 13, 1971; Dec 22, 1971; Feb 8, 1972; Mar 30, 1972; May 30, 1972; May 16, 1975; Oct 29, 1975; Nov 21, 1975
Cadmus, Paul: Oct 18, 1956 postcard
Calder, A. Stirling: see Photographs
Castellon, Rolando: undated letter; [Apr 1968]; May 13, 1968; Jan 6, 1972; Apr 5, 1979
Chase, Doris: undated letter
De Creeft, Jose: see Printed Material for an exhibition catalog
Dehn, Virginia (Mrs. Adolph Dehn): undated Christmas card; Dec 9, 1975; [Jan 1976]; Dec 18, 1977; Feb 17, 1978; Dec 16, 1978; Dec 5, 1980; 1981 Christmas card; 1982 Christmas card; also see Printed Material for exhibition announcements and catalogs
Dixon, Constance ("Consie," daughter of painter of the West, Maynard Dixon): 1949 Christmas card; May 5, 1952; 1961 Christmas card
Engelking, Roberto (architect): undated letter; Jan 16, 1949; Mar 22, 1949
Evergood, Philip: see Printed Material for an exhibition catalog
Ferber, Herbert: see Printed Material for an exhibition catalog
Force, Juliana: [mentioned in Oct 16, 1929, Apr 1930, April 29, 1930, Oct 1, 1930, Oct 25, 1930, Nov 1, 1930, Sep 12, 1932, and Sep 20, 1932 postcards]
Fortess, Karl and Lillian: 1977 Christmas card; Aug 14, 1979; Dec 3, 1979; Jan 8, 1980; 1980 Christmas card; 1981 Christmas card; 1982 Christmas card
Freilich, Michael: undated letter; also see Printed Material for exhibition announcement; also see Photographs
Fruhauf [Vollmer], Aline: undated letters (22); Mar 31, 1944; Jan 3, 1948 (note from Susie Vollmer); Jan 18, 1950; Jan 27, 1950; Apr 15, 1950; Sep 9, 1957; Nov 29, 1957; Jan 15, 1958; Nov 1, 1958; Feb 1, 1961; Dec 21, 1970; Apr 14, 1972; Jan 15, 1974; Jun 12, 1974; Jun 18, 1975; Jun 3, 1977; Oct 23, 1977; 1977 Christmas card; Mar 11, 1978; Jul 18, 1979 (letter from Erwin Vollmer); 1980 Christmas card (from Erwin Vollmer)
Gikow, Ruth: see Printed Material for exhibition announcements
Glassgold, Adolph Cook (painter, former Whitney Museum curator): undated letter; May 26, 1948; 1972 Christmas card; 1977 Christmas card; 1978 New Year's card
Gottlieb, Harry: [postcards dated 1923-1934 mention Gottlieb]; undated letter; Apr 27, 1977; also see Printed Material for an exhibition catalog; also see Photographs
Goulet, Lorrie: see Printed Material for exhibition announcements
Hardy, Marcella (writer from India): May 18, 1956
Hart, Agnes: see Presser, Agnes Hart
Hartwig, Cleo: see Printed Material for an exhibition announcement
Knight, Frederic and Dorothy: undated letters (6); May 19, 1953
Knight, Frederic and Hortense: undated letters (3); Dec 5, 1975; 1977 Christmas card; Nov 18, 1978; Sep 16, 1979; Dec 7, 1980; Nov 23, 1981; also see Printed Material for exhibition announcements and catalogs
Kosloff, Alexis (Russian dancer): [mentioned in Jul 5, 1928 postcard]
Lonergan, Joy (Mrs. John Lonergan): undated letter; Jul 25, 1975; Jul 19, 1977; Apr 27, 1978; Mar 7, 1979; May 25, 1979; Sep 12, 1979; 1981 Christmas card
Marantz, Irving and Evelyn: undated Christmas card; 1971 Christmas card; Jun 4, 1975; 1975 Christmas card; [Sep 5, 1978]; also see Printed Material for an exhibition catalog
Mayer, Ralph and Bena: undated letters (3); Feb 10, 1975; Nov 29, 1977; May 16, 1980; Jan 1, 1981; Aug 7, 1981; 1981 Christmas card
Nakian, Reuben: see Photographs
O'Connor, Francis V.: undated letters (2); Jun 19, 1970; Nov 11, 1970; Dec 22, 1975
Olds, Elizabeth: undated card
Picken, George and Viola: undated letters (3); 1944 Christmas card; 1972 Christmas card; 1974 Christmas card; 1977 Christmas card; also see Printed Material for an exhibition catalog
Pollet, Joseph: see Printed Material for an exhibition catalog; also see Photographs
Presser, Josef and Agnes Hart: undated letters (3); [Sep 1970]; Nov 6, 1973; Feb 25, 1978; Feb 14, 1979; Feb 21, 1979; Mar 4, 1979; Mar 19, 1979; Jun 13, 1979; Sep 7, 1979; [Nov 4, 1979]; also see Printed Material for exhibition announcements and catalogs
Robinson, Gertrude (author of -- The Cardinal -- , wife of Morton Robinson, novelist and poet): undated letter; Feb 6, 1972; 1974 Christmas card; 1977 Christmas card; Feb 16, 1978; Jun 20, 1978; 1978 Christmas card; Jun 20, 1978; Apr 17, 1979; Sep 10, 1979; Dec 19, 1980; Sep 22, 1981; Oct 17, 1981; Nov 12, 1981
Rockwood, Paul and Alice (painter and Bishop Museum Director): undated letter; Dec 8, 1951; Jan 7, 1960
Rogers, Jane C. (painter, sister of Leon Kroll): undated Christmas card; Dec 30, 1948
Rose, Phyllis (writer): un Christmas card; Jan 23, 1977; Jul 1978; Dec 1981
Sarg, Tony: [mentioned in Oct 30, 1923 and Nov 7, 1923 postcards]
Scaravaglione, Concetta: Dec 22, 1959; Jun 24, 1960; also see Photographs
Shibley, Gertrude (Painter): 1977 Christmas card; Jun 5, 1979
Smith, Gretchen and Mary (daughters of Judson Smith): [Judson Smith mentioned in Feb 17, 1925 postcard]; undated Christmas cards (3); 1977 Christmas card; Sep 16, 1980; see Printed Material for an exhibition catalog for Judson Smith
Soyer, David (son of Moses Soyer): 1977 Christmas card
Soyer, Moses: undated Christmas card
Soyer, Raphael: undated Christmas cards (3); 1980 Christmas card; 1981 Christmas card; 1982 Christmas card; also see Printed Material for exhibition announcements
Still, James (Writer): Nov 8, 1950; Jun 8, 1979
Striebel, Fritzi (Mrs. John Striebel, ceramic sculptor, writer): undated letters (11); Jun 6, 1975; Oct 14, 1975; Feb 1, 1976; [May 1976]; Aug 21, 1976; 1976 Christmas card; 1977 Christmas card; Feb 17, 1979; Apr 11, 1979; Jul 3, 1979; Oct 22, 1979; Nov 6, 1979; Nov 20, 1979; [1979 Christmas card]; Apr 5, 1980; Oct 5, 1980; Dec 30, 1980; Jan 9, 1981; Apr 22, 1981; May 12, 1981; Oct 22, 1981; Nov 16, 1981; 1981 Christmas card; 1982 Christmas card; Feb 26, 1983; [Mar 1983]
Taylor, Joshua: Dec 20, 1972; Dec 5, 1975
Thomson, Virgil (composer): undated letters (2); Apr 1, 1970; Jun 8, 1971; Nov 8, 1971; Jan 1, 1972
Van Veen, Stuyvesant: undated letter; Nov 23, 1976
Whitney Studio Club: [mentioned in Jan 31, 1928, Apr 9, 1928, and Feb 16, 1929 postcards]
Wilder, Thornton: Jul 20, 1953
Wright, Russell (industrial designer): undated Christmas cards (5); Dec 12, 1972; Feb 2, 1976
Yaddo: undated letters (4): Oct 17, 1949; Dec 12, 1949; Jan 9, 1950; Jan 24, 1950; Mar 31, 1950; Aug 23, 1950; Aug 24, 1950; Oct 9, 1950; Oct 11, 1950; Feb 26, 1951; also see Photographs
Zorach, Tessim: May 11, 1968; Nov 20, 1970; Nov 28, 1970
Collection Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
The collection is open for research. Patrons must use microfilm copy.
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:
Eugenie Gershoy papers, 1914-1983. Archives of American Art, Smithsonian Institution.
