Search Results

Creator:

Brook, Alexander, 1898-1980  Search this

Subject:

Bacon, Peggy  Search this

Biddle, George  Search this

Brett, Catherine  Search this

Covarrubias, Miguel  Search this

Pollock, Jackson  Search this

Spencer, Niles  Search this

Knee, Gina  Search this

Bouché, Louis  Search this

Type:

Photographs

Watercolors

Sketches

Transcriptions

Scrapbooks

Sketchbooks

Interviews

Etchings

Illustrations

Citation:

Alexander Brook papers, 1900-1982. Archives of American Art, Smithsonian Institution.

Topic:

Post-impressionism (Art)  Search this

Painting, Modern -- 20th century -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Theme:

Diaries  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6833

(DSI-AAA_SIRISBib)208960

AAA_collcode_brooalex

Theme:

Diaries

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208960

Creator:

Kent, Norman, 1903-1972  Search this

Subject:

Aiken, Charles Avery  Search this

Albee, Grace  Search this

Anderson, Ernfred  Search this

Arms, John Taylor  Search this

Avery, Ralph Hillyer  Search this

Aylward, W. J. (William James)  Search this

Bailey, Merrill A.  Search this

Bailey, Vernon Howe  Search this

Biddle, George  Search this

Bouché, Louis  Search this

Boyd, Fiske  Search this

Bransom, Paul  Search this

Burchfield, Charles Ephraim  Search this

Carter, Clarence Holbrook  Search this

Cheffetz, Asa  Search this

Clark, Eliot Candee  Search this

Cook, Howard Norton  Search this

Cornwell, Dean  Search this

Daugherty, James Henry  Search this

Deines, E. Hubert  Search this

Eichenberg, Fritz  Search this

Fabri, Ralph  Search this

Fawcett, Robert  Search this

Havens, James D.  Search this

Heitland, Wilmot Emerton  Search this

Helck, Peter  Search this

Hoftrup, Julius Lars  Search this

Kappel, Philip  Search this

Kent, Rockwell  Search this

Lankes, Julius J.  Search this

Leighton, Clare  Search this

Mack, Warren Bryan  Search this

Mason, Roy Martell  Search this

Meissner, Leo J. (Leo John)  Search this

Menihan, John C.  Search this

Pitz, Henry Clarence  Search this

Pleissner, Ogden M.  Search this

Reynard, Grant T.  Search this

Rice, William S.  Search this

Rockwell, Norman  Search this

Sandzén, Birger  Search this

Schafer, Alice Pauline  Search this

Sloane, Eric  Search this

Smith, Charles (Charles William)  Search this

Swann, James  Search this

Teague, Donald  Search this

Unwin, Nora Spicer  Search this

Von Neumann, Robert  Search this

Ward, Lynd  Search this

Waters, Herbert  Search this

Watson, Aldren Auld  Search this

Wengenroth, Stow  Search this

Whitaker, Frederic  Search this

Williams, Esther  Search this

Wilson, Edward Arthur  Search this

Citation:

Norman Kent papers, 1939-1964. Archives of American Art, Smithsonian Institution.

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)7688

(DSI-AAA_SIRISBib)209851

AAA_collcode_kentnorm

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209851

Creator:

Bearden, Romare, 1911-1988  Search this

Names:

Alston, Charles Henry, 1907-1977  Search this

Holty, Carl, 1900-1973  Search this

Lawrence, Jacob, 1917-2000  Search this

Middleton, Samuel M., 1927-  Search this

Reinhardt, Ad, 1913-1967  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Sketches

Exhibition catalogs

Maps

Photographs

Date:

1937-1982

Summary:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material. Found are numerous letters referring to African-American arts movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature.

Scope and Contents:

The papers of Romare Bearden measure 2.1 linear feet and date from 1937 to 1982. The collection includes biographical information, correspondence, writings by and about Bearden, miscellaneous legal and financial material, photographs, drawings, and printed material.

Correspondence is with family, friends, artists, galleries, museums, publishers, universities, arts associations, and colleagues, primarily concerning gallery space, exhibitions, sales of artwork, publishing, and arts events. Also found are numerous letters referring to African-American art movements of the 1960s and 1970s, including exhibitions, publications, associations, and scattered letters of a more personal nature. Many of the letters are illustrated with Bearden's doodlings and drawings. Although most of the letters are from galleries, museums, publishers, and arts associations, scattered letters from Charles Alston, Jacob Lawrence, Ad Reinhardt, Carl Holty, and Sam Middleton are found. In addition, there are letters from the Black Academy of Arts and Letters, and letters concerning its founding.

Writings by Bearden include lectures, speeches, talks, essays, and prose. Many are handwritten, annotated, and edited in Bearden's hand and several are illustrated with Bearden's doodlings and sketches. Included are a memorial delivered upon artist Carl Holty's death, a tribute to Zell Ingram, autobiographical essays, essays on art, and African-American art, artists, and cultural life. Also found are several handwritten examples of Bearden's prose and poetry. There are also writings by others and one folder of fragments and notes assumed to be by Bearden.

The collection houses two folders of photographs and snapshots of Bearden, family members, other unidentified artists or friends, classes and/or lectures, and works of art. Also found are several undated ink drawings, sketches in pencil and ink, and a hand-drawn and colored map with overlay of Paris. Printed material includes examples of Bearden's commissioned artwork for publications, press releases, exhibition catalogs and announcements, invitations, newspaper and magazine clippings, and miscellaneous printed materials. Although much of the printed material concerns Bearden's work, a fair portion concerns African-American art, artists, and cultural movements.

Arrangement:

The collection is arranged into seven series based on type of materials. Documents within each of the seven series have been arranged in chronological order, except for the writings which have been further subdivided by creator and are undated. Printed materials have been arranged primarily according to form of material and are in rough chronological order.

Missing Title

Series 1: Biographical, 1977, undated (Box 1; 1 folder)

Series 2: Correspondence, 1944-1981, undated (Box 1-2; 0.8 linear feet)

Series 3: Writings By and About Bearden, circa 1950s-1980s (Box 3; 6 folders)

Series 4: Legal and Financial Material, 1970-1977 (Box 3; 3 folders)

Series 5: Photographs, undated (Box 3; 2 folders)

Series 6: Drawings, undated (Box 3, OV 6; 4 folders)

Series 7: Printed Material, 1937-1982 (Box 3-5; 1 linear foot)

Biographical / Historical:

Born in Mecklenburg County, North Carolina, in 1914, Bearden's family relocated to New York City when Bearden was a toddler. Living in Harlem during the Harlem Renaissance of the 1920s, Bearden was exposed to such luminaries as writer Langston Hughes, painter Aaron Douglas, and musician Duke Ellington. While attending New York University, Bearden became interested in cartooning and became the art editor of the NYU Medley in his senior year. He received his B.S. in mathematics in 1935, initially planning to pursue medical school. Realizing that he had little interest in the other sciences however, Bearden began attending classes at the Art Students League in the evenings, studying under George Grosz.

In the mid-1930s Bearden published numerous political cartoons in journals and newspapers, including the Afro-American, but by the end of the decade, he shifted his emphasis to painting. Bearden's first paintings, on large sheets of brown paper, recalled his early memories of the South. After serving in the Army, Bearden began exhibiting more frequently, particularly in Washington, D.C. at the G Street Gallery and in New York with Samuel Kootz.

During a career lasting almost half a century, Bearden produced approximately two thousand works. Although best known for the collages of urban and southern scenes that he first experimented with in the mid-1960s, Bearden also completed paintings, drawings, monotypes, edition prints, public murals, record album jackets, magazine and book illustrations, and costume and set designs for theater and ballet. His work focused on religious subjects, African-American culture, jazz clubs and brothels, and history and literature. Not confining his abilities to the visual arts, Bearden also devoted attention to writing and song writing. Several of his collaborations were published as sheet music, among the most famous of which is "Seabreeze," recorded by Billy Eckstine. In addition, Bearden coauthored three full-length books: The Painter's Mind: A Study of the Relations of Structure and Space in Painting (1969) with painter Carl Holty; Six Black Masters of American Art (1972); and A History of African-American Artists: From 1792 to the Present (posthumously, 1993), the latter two with journalist Harry Henderson.

Bearden was also active in the African-American arts movement of the period, serving as art director of the Harlem Cultural Council, a founding member of the Black Academy of Arts and Letters, and organizer of exhibitions, such as the Metropolitan Museum's "Harlem on My Mind" (1968). Romare Bearden died in 1988.

Related Materials:

Within the Archives holdings are two oral history interviews with Romare Bearden. One was conducted in 1968 by Henri Ghent and another in 1980 by Avis Berman.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming (reel N68-87) including correspondence, a scrapbook, photographs, catalogs, clippings, and writings. Except for the correspondence, loaned materials were returned to the donor and are not described in the collection container inventory.

Provenance:

Romare Bearden lent material for microfilming to the Archives of American Art in 1968, donating the correspondence. Bearden also gave additional papers between 1977 and 1983.

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 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

Collagists -- New York (State) -- New York  Search this

Topic:

African American artists  Search this

Works of art  Search this

Painting  Search this

Genre/Form:

Drawings

Sketches

Exhibition catalogs

Maps -- Paris (France)

Photographs

Citation:

Romare Bearden papers, 1937-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.bearroma

See more items in:

Romare Bearden papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed3f5b60-2e93-4f30-af75-dbd95d060a90

EDAN-URL:

ead_collection:sova-aaa-bearroma

Creator:

Yunkers, Adja, 1900-1983  Search this

Names:

Alice Simsar Gallery  Search this

Impressions Gallery of Photography  Search this

Smith Andersen Gallery  Search this

Bjornstjerna, Mikael  Search this

Grossman, Morton, 1926-  Search this

Haley, Donna  Search this

Olsen, Cheryl  Search this

Wood, Denis  Search this

Extent:

2.32 Linear feet ((partially microfilmed on 3 reels))

Type:

Collection descriptions

Archival materials

Date:

1939-1983

Scope and Contents:

REEL N70-16: A typescript (42 p.) address delivered at the Corcoran Museum of Art, 1967, by Yunkers describing his student years in Russia, and later years in Germany, France, and Mexico, ca. 1917-1928, and relating political, social, and cultural events to the development of modern art. He describes Russia before and during the Revolution and Germany during the Weimar Republic. Also included are a resume; a critical bibliography of Yunkers work; typescripts of 2 articles; and clippings.

REEL D251: Printed material, 1941-1965, including newspaper clippings, magazine articles, reviews, exhibition catalogs and announcements, and press releases.

REEL 1023: "Prints in the Desert: New Mexico," 1950, a limited edition book of prints and poetry produced by a collaboration of artists under the leadership of Yunkers.

UNMICROFILMED: Biographical material, including naturalization papers and a passport; files of letters from Mikael Bjornstjerna (1977-1983), Cheryl Bowers (1978-1983), Morton and Chris Grossman (1979-1982), Donna Haley (1982-1983), Denis Wood (1978-1983), Yunker's daughters, including Nina (1979-1983); business and personal correspondence, 1960-1983; files on galleries handling Yunkers' work, including Smith Andersen Gallery (Palo Alto, Calif.), Alice Simsar Gallery (Ann Arbor, Mich.), and Impressions Gallery (Boston, Mass.) containing correspondence, price lists and receipts; a few sketches and a collage; 2 portfolios, "Creation" (1941) and "Ars: Tidskrift for Konst Litterature Och Veteskap" (1942) containing original prints and collages by Yunkers; 2 appointment books, 1980-1983; notes and writings; photographs of Yunkers, Yunkers at work, his family, friends, studio, and art work; photograph albums, including 2 of Yunkers' studios in Stockholm, Sweden, New Mexico, and New York City (1942-1980) and one of exhibition installations, undated; photographs by Denis Hare of the making of Octavio Paz's book BLANCO, illustrated by Yunkers, and slides of prints included in BLANCO; and printed material, including exhibition announcements, clippings and miscellany.

Biographical / Historical:

Abstract painter and printmaker, collagist, and art instructor; New York, N.Y. Died 1983. Born in Riga, Latvia. Studied in Leningrad, Paris, Berlin, and London. He moved to the United States in 1947. Faculty member of the New School for Social Research, 1947-1956; Cooper Union, 1956-1967.

Related Materials:

Adja Yunker papers also at Syracuse University.

Provenance:

Materials on reels D251, N70-16, and 1023 donated by Adja Yunkers, 1966-1970, and transferred to NMAA-NPG Library vertical files after microfilming, except "Prints in the Desert: New Mexico" (REEL 1023). Unmicrofilmed material donated 1984 by Marina and Alexandra Yunkers, Yunkers' daughters.

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.

Unmicrofilmed: ACCESS RESTRICTED; written permission required.

Occupation:

Art teachers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Printmakers -- New York (State) -- New York  Search this

Collagists -- New York (State) -- New York  Search this

Topic:

Abstract expressionism  Search this

Painting, Abstract -- New York (State) -- New York  Search this

Prints, Abstract -- New York (State) -- New York  Search this

Artists' illustrated books  Search this

Prints -- 20th century  Search this

Identifier:

AAA.yunkadja

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ddbf2fbb-ff0e-4910-8bf2-70c282edc073

EDAN-URL:

ead_collection:sova-aaa-yunkadja

Creator:

Dove, Arthur Garfield, 1880-1946  Search this

Names:

Phillips, Duncan, 1886-1966  Search this

Stieglitz, Alfred, 1864-1946  Search this

Torr, Helen, 1886-1967  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Audiotapes

Photographs

Diaries

Sketches

Date:

1905-1975

Summary:

The papers of artists Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.

Scope and Content Note:

The papers of Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.

Biographical Materials include a last will and testament, biographical narratives, and other official documents, as well as an audio recording of an interview with William Dove made around 1961 by George Wolfer. Correspondence includes letters from friends, clients, other artists, and Dove's patron Duncan Phillips. There is also correspondence with family members Helen Torr and Paul Dove. Drafts of outgoing letters from Dove to various correspondents including Phillips and Alfred Stieglitz are found.

Writings are extensive and include diaries, autobiographical essays, essays about art, artists, and other subjects, and poetry by Arthur Dove; as well as essays, reminiscences, and notes of Helen Torr. Printed Materials include exhibition catalogs for Dove's shows and the shows of other artists in the Stieglitz Circle, examples of Dove's early magazine illustration work, newspaper reviews of Dove's exhibitions, and various pamphlets related to modern art. Personal Business Records include an accounting ledger of the Doves' expenses, sales receipts, tax records, and an undated art inventory. Artwork consists of ten items, mostly sketches in pencil, watercolor, ink, and colored pencil. Photographs are undated and unidentified, but depict mostly family, homes, and coastal scenes.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1928-1937, circa 1961 (Box 1; 2 folders)

Series 2: Correspondence, circa 1920-1974 (Box 1; 0.8 linear feet)

Series 3: Writings, circa 1924-1945 (Boxes 1-3; 1.5 linear feet)

Series 4: Printed Materials, circa 1905-1975 (Box 3; 0.3 linear feet)

Series 5: Personal Business Records, circa 1921-1965 (Box 3; 0.3 linear feet)

Series 6: Artwork, undated (Box 3; 1 folder)

Series 7: Photographs, 1909, undated (Box 3; 4 folders)

Biographical Note:

Arthur Garfield Dove was an early twentieth-century painter, collagist, and illustrator who was one of the first American artists to embrace abstraction in art. He was a part of Alfred Stieglitz's Circle of modern American artists introduced at Stieglitz's 291 Gallery along with John Marin and Georgia O'Keeffe. Dove spent his career developing his own idiosyncratic style of formal abstraction in painting based on his ideas about nature, feeling, and pure form, and characterized by experimentation with color, composition, and materials.

Born in Canandiagua, NY in 1880, Dove grew up in the small, rural town of Geneva, NY. He was first exposed to art by a local farmer and painter named Newton Weatherly, who gave him canvas and paint, and who Dove himself cited as an early influence. Dove went to Cornell University to study law, but soon shifted to art and illustration. He graduated in 1903 and quickly became a success as a magazine illustrator, working for Collier's, McClure's, St. Nicholas, and The Illustrated Sporting News, among other publications. In 1904, he married Florence Dorsey, a Geneva woman, and they lived in New York City. Their son, William Dove, was born in 1910.

In 1908 the couple traveled to Paris to enable Dove to pursue his interest in painting. In Paris, he met Alfred Maurer, Jo Davidson, and other American artists living abroad. The influence of his European and expatriate contemporaries would prove to be a lasting one, exposing him to ideas about abstraction and experimentation that he would develop in his work for the rest of his life.

Soon after Dove's return to the United States, he met Alfred Stieglitz and began a lifelong friendship. Stieglitz ran the Little Galleries of the Photo-Secession, which came to be known as 291, in New York. His daring, avant-garde exhibitions of both European and American modern art at 291 provided a venue and gathering-place for progressive American artists that was unique for its time. Dove's first solo exhibition at 291 was held in 1912, and consisted of ten pastel drawings that have come to be known as the "Ten Commandments." The attention it received established Dove as a prominent abstract painter.

Around 1920, Dove met another Westport artist named Helen S. Torr, also known as Reds. A Philadelphia-born painter who had studied at the Pennsylvania Academy of Fine Art, Reds was married at the time to the cartoonist Clive Weed. Torr and Dove eventually left their unhappy marriages and began a life together, moving to a houseboat docked in Manhattan. In 1922, they moved to Halesite, Long Island, New York, where Dove's artwork once again flourished. By the mid-1920s, he was exhibiting regularly, paralleled by the rise of Stieglitz's new Intimate Gallery in 1925. His work continued to explore abstraction and organic forms, and, in addition to paintings, he produced assemblages made of found materials.

Although a building teardown brought the Intimate Gallery to a sudden end in 1929, the financial support of friends enabled Alfred Stieglitz to open An American Place soon thereafter. There Stieglitz would focus on the work of a few American artists, including Dove, John Marin, and Georgia O'Keeffe. Helen Torr was also exhibited at An American Place, in a group show with Arthur in 1933. It was also at this gallery that the art collector Duncan Phillips was introduced to Dove's artwork. Phillips' interest in Dove grew into an ongoing patronage of Dove that would see them through the Depression and periods of serious illness in the 1930s and 1940s. Their arrangement, whereby Phillips had first refusal on all of Dove's new artwork, enabled him to gradually assemble the largest collection of Dove's work held anywhere.

In 1938, while on a trip to New York to attend his exhibition, Dove became suddenly ill. Although he recovered somewhat that year, his health never entirely returned to normal, and he spent long periods during what remained of his life housebound and in a wheelchair. He and Reds bought a home in Centreport, on Long Island, where they would stay the rest of his life. In 1939 he was so ill that neither his family nor Stieglitz thought he would ever paint again. Despite his physical limitations, he continued to work, turning to the less physically strenuous media of drawing and watercolor, and produced new work for five solo exhibitions in the 1940s. His work of this period embraces pure abstraction more fully than ever, and is regarded by some to be a culmination or crystallization of his singular style and approach to abstract painting.

Arthur Dove suffered a stroke in 1946 and died that November, just four months after his lifelong friend and mentor Alfred Stieglitz died of a heart attack. Reds lived until 1967 in their Centreport home. Dove's importance to American art has since been recognized with more than a dozen retrospective exhibitions at major museums and galleries.

This biography relied heavily on the monograph Arthur Dove: Life and Work, with a Catalogue Raisonné (1984) by Ann Lee Morgan.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming. Reel 725 contains Arthur Dove's letters from Alfred Stieglitz (1918-1946) and Georgia O'Keeffe (1921-1948), and two letters from William Einstein (1937). The original letters were later donated to the Beinecke Library at Yale University, which holds the Stieglitz/O'Keeffe Archives. Reel 2803 contains photocopies of Arthur Dove's card catalog of paintings that were discarded after microfilming. This material is not described in the collection container inventory.

Provenance:

The papers of Arthur and Helen Torr Dove were loaned to the Archives of American Art by Arthur Dove's son, William Dove, for microfilming in several increments between 1970 and 1975. The papers were later donated to the Archives by William Dove via the Terry Distenfass Gallery of New York City in multiple accessions between 1982 and 1989, with two major exceptions: 177 letters from Alfred Stieglitz, sixteen letters from Georgia O'Keeffe, and two letters from William Einstein; and Arthur Dove's card catalog of paintings, a photocopy of which had been loaned for microfilming. The papers were digitized in 2006.

Restrictions:

The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.

Rights:

The 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)  Search this

Collagists -- New York (State)  Search this

Topic:

Works of art  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Audiotapes

Photographs

Diaries

Sketches

Citation:

Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.dovearth

See more items in:

Arthur and Helen Torr Dove papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw903513152-b2fa-4bc4-b0fb-de7d7f0728be

EDAN-URL:

ead_collection:sova-aaa-dovearth

Creator:

Warshaw, Isadore, 1900-1969  Search this

Extent:

5.11 Cubic feet (consisting of 11 boxes, 1 folder, 2 oversize folders, 1 map case folder, 1 flat box (partial.))

Type:

Collection descriptions

Archival materials

Publications

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals

Date:

1819-1985

Summary:

A New York bookseller, Warshaw assembled this collection over nearly fifty years. The Warshaw Collection of Business Americana: Accounting and Bookkeeping forms part of the Warshaw Collection of Business Americana, Subseries 1.1: Subject Categories. The Subject Categories subseries is divided into 470 subject categories based on those created by Mr. Warshaw. These subject categories include topical subjects, types or forms of material, people, organizations, historical events, and other categories. An overview to the entire Warshaw collection is available here: Warshaw Collection of Business Americana

Scope and Contents:

The subject category Steel largely represents business records and advertisements created by steel manufacturers and distributors of steel-based goods or services. Additional materials include biographical writings about Andrew Carnegie, documentation about the effect of the steel industry on society, and educational material about the steel industry.

No complete set of business records are represented within the collection, however the United States Steel Corporation has notable representation within the business records.

Technical documentation about the production of steel-based products as well as background information about the United States Steel Industry and Andrew Carnegie are strong research strengths of this subject category.

Arrangement:

Steel is arranged in three subseries.

Business Records and Marketing Material

Genre

Subject

Forms Part Of:

Forms part of the Warshaw Collection of Business Americana.

Series 1: Business Ephemera

Series 2: Other Collection Divisions

Series 3: Isadore Warshaw Personal Papers

Series 4: Photographic Reference Material

Provenance:

Steel is a portion of the Business Ephemera Series of the Warshaw Collection of Business Americana, Accession AC0060 purchased from Isadore Warshaw in 1967. Warshaw continued to accumulate similar material until his death, which was donated in 1971 by his widow, Augusta. For a period after acquisition, related materials from other sources (of mixed provenance) were added to the collection so there may be content produced or published after Warshaw's death in 1969. This practice has since ceased.

Restrictions:

Collection is open for research. Some items may be restricted due to fragile condition.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Steel founding  Search this

Steel industry and trade -- 1930-2000  Search this

Stainless steel tableware  Search this

Steel alloys  Search this

Iron and steel bridges  Search this

Iron and steel industry  Search this

Manufacturing  Search this

Iron and steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Steel industry and trade  Search this

Steel, Stainless -- 20th century  Search this

Structural steel workers -- 1920-1930 -- New York (State) -- New York  Search this

Women iron and steel workers  Search this

Manufacturing industries  Search this

Manufacturing processes  Search this

Trade associations  Search this

Genre/Form:

Publications -- Business

Business ephemera

Manuscripts for publication

Steel plate engravings

Technical reports

Letterheads

Business cards

Advertising mail

Advertising fliers

Sales letters

Printed ephemera

Sales records

Advertising cards

Advertisements

Trade cards

Periodicals

Commercial catalogs

Manufacturers' catalogs

Manuals

Legal documents

Receipts

Invoices

Print advertising

Advertising

Ephemera

Business letters

Sales catalogs

Printed materials

Illustrations

Trade catalogs

Trade literature

Catalogues

Commercial correspondence

Business records

Printed material

Correspondence

Legislation (legal concepts)

Reports

Technical manuals -- 20th century

Citation:

Warshaw Collection of Business Americana Subject Categories: Steel, Archives Center, National Museum of American History, Smithsonian Institution.

Sponsor:

Funding for partial processing of the collection was supported by a grant from the Smithsonian Institution's Collections Care and Preservation Fund (CCPF).

Identifier:

NMAH.AC.0060.S01.01.Steel

See more items in:

Warshaw Collection of Business Americana Subject Categories: Steel

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8b94698eb-da99-4338-b74e-4b73fc712dc5

EDAN-URL:

ead_collection:sova-nmah-ac-0060-s01-01-steel

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-12T21:54:04.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

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cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_8XmbLd1ZnI8

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-12T20:52:19.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_LRSjWHzPtXY

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-11T16:46:36.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_bV3ouOwIFEc

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-16T15:42:41.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_mVvj_QFtWqk

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-12T20:34:01.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_nenpF_WDEqI

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-12T21:16:49.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_qxRhg1s2JN8

Creator:

Kent, Rockwell, 1882-1971  Search this

Subject:

Wildenstein, Felix  Search this

Phillips, Duncan  Search this

Hays, Lee  Search this

Untermeyer, Louis  Search this

Zigrosser, Carl  Search this

Robeson, Paul  Search this

DuBois, W.E.B. (William Edward Burghardt)  Search this

Roosevelt, Franklin D. (Franklin Delano)  Search this

Ruggles, Carl  Search this

Stefansson, Vilhjalmur  Search this

Nearing, Helen  Search this

Nearing, Scott  Search this

Pach, Walter  Search this

Rasmussen, Knud  Search this

Reeves, Ruth  Search this

Seeger, Pete  Search this

Daniel, Charles  Search this

Cleland, T. M. (Thomas Maitland)  Search this

Davies, Arthur B. (Arthur Bowen)  Search this

Chamberlain, J. E.  Search this

Boyesen, Bayard  Search this

Chase, William Merritt  Search this

Freuchen, Peter  Search this

Gellert, Hugo  Search this

Gottlieb, Harry  Search this

Hartley, Marsden  Search this

Fitzgerald, James  Search this

Keller, Charles  Search this

Miller, Kenneth Hayes  Search this

Henri, Robert  Search this

Jones, Dan Burne  Search this

United American Artists  Search this

United Office and Professional Workers of America  Search this

United Scenic Artists  Search this

National Farmers' Union (U.S.)  Search this

National Maritime Union of America  Search this

American Artists' Congress  Search this

Artists' Union (New York, N.Y.)  Search this

Artists League of America  Search this

Citizens' Committee for Government Arts Projects  Search this

Farmers Union of the New York Milk Shed  Search this

Federal Art Project  Search this

Federal Writers' Project  Search this

Macbeth Gallery  Search this

International Workers Order  Search this

Type:

Poems

Sketches

Business records

Photographs

Drawings

Citation:

Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.

Topic:

Designers -- New York (State)  Search this

Mural painting and decoration  Search this

Politics and culture  Search this

Authors -- New York  Search this

Art, Modern -- 20th century -- United States -- Political aspects  Search this

Dairy farms  Search this

Federal aid to the arts  Search this

Illustrators -- New York (State)  Search this

Illustration of books  Search this

Works of art  Search this

Art and war  Search this

Commercial art  Search this

World War, 1939-1945 -- Art and the war  Search this

Theme:

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)9557

(DSI-AAA_SIRISBib)211757

AAA_collcode_kentrock

Theme:

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211757

Creator:

Cooper Hewitt, Smithsonian Design Museum  Search this

Type:

YouTube Videos

Uploaded:

2008-12-12T18:17:40.000Z

YouTube Category:

Nonprofits & Activism  Search this

Topic:

Design  Search this

See more by:

cooperhewitt

Data Source:

Cooper Hewitt, Smithsonian Design Museum

YouTube Channel:

cooperhewitt

EDAN-URL:

edanmdm:yt_DmwCKJMH3C8

Author:

Hazard, Samuel 1834-1876  Search this

Physical description:

xxix, 511 pages, 25 unnumbered leaves of plates (1 folded) illustrations, maps, portraits 21 cm

Type:

Texts

History

Maps

Publishers' advertisements

Place:

Hispaniola

Haiti

Haïti

New York (State)

New York

Date:

1873

Topic:

Travel  Search this

History  Search this

Description and travel  Search this

Histoire  Search this

Descriptions et voyages  Search this

Call number:

F1901.H43X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_210424

Author:

Johnson, James Weldon 1871-1938  Search this

Physical description:

284, xxxiv pages illustrations, plans, portraits 21 cm

Type:

Books

Olin Library Black authors

Place:

New York (State)

New York

New York (État)

Harlem (New York, N.Y.)

Harlem

New York- Harlem

Date:

1968

Topic:

African Americans  Search this

Noirs américains  Search this

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_25593

Creator:

Berman, Avis  Search this

Names:

Whitney Museum of American Art  Search this

Force, Juliana, 1876-1948  Search this

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Extent:

11.8 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Sound recordings

Interviews

Date:

1857-circa 2010

Summary:

The Avis Berman research material on Juliana Force, inaugural director of the Whitney Museum of American Art, measures 11.8 linear feet and dates from 1857 to circa 2010. The collection is comprised of Berman's research and writing files in preparation for her book, Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art, published in 1990. Included are manuscript drafts, correspondence, photographs, photocopies of archival material, notes, printed material, and theirty-seven recordings of interviews with numerous artists, as well as a few unidentified recordings. Berman's manuscript is also contained in digital format on twenty-three electronic disks. Research topics include Gertrude Vanderbilt Whitney, the Whitney Museum, Whitney Studio Galleries and Club, MacDougal Alley, Force and the Rieser family, and historical events of the early 1900s.

Scope and Contents:

The Avis Berman research material on Juliana Force, inaugural director of the Whitney Museum of American Art, measures 11.8 linear feet and dates from 1857 to circa 2010. The collection is comprised of Berman's research and writing files in preparation for her book, Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art, published in 1990. Included are manuscript drafts, correspondence, photographs, photocopies of archival material, notes, printed material, and theirty-seven recordings of interviews with numerous artists, as well as a few unidentified recordings. Berman's manuscript is also contained in digital format on twenty-three electronic disks. Research topics include Gertrude Vanderbilt Whitney, the Whitney Museum, Whitney Studio Galleries and Club, MacDougal Alley, Force and the Rieser family, and historical events of the early 1900s.

Arrangement:

The collection is arranged as two series.

Series 1: Writing Project Files, circa 1980s (1.6 linear feet; Boxes 1-2)

Series 2: Research and Subject Files, 1857-circa 2010 (10.2 linear feet; Boxes 2-13, OVs 14-15)

Biographical / Historical:

Avis Berman (1949- ) is a writer, curator, and historian of American art, architecture and culture based in New York, N.Y. She holds a bachelor's degree from Bucknell University and an master's degree from Rutgers Univerisy, both in English literature. She is the author of numerous books including Rebels on Eighth Street: Juliana Force and the Whitney Museum of American Art; James McNeill Whistler; and Edward Hopper's New York. She was also co-author and editor of Katharine Kuh's memoir, My Love Affair with Modern Art: Behind the Scenes with a Legendary Curator.

Berman has written numerous articles on subjects including painting, sculpture, photography, illustration, design, architecture, and the social history of the visual arts for a broad range of publications including The New York Times, The New York Review of Books, The Washington Post, Smithsonian, Saturday Review, The Boston Book Review, American Art, ARTnews, The San Francisco Examiner, The Boston Globe, The Philadelphia Inquirer, The Baltimore Sun, Art in America, Art & Antiques, House & Garden, and Architectural Digest. Throughout the 1980s 1990s and 2000s Avis served as a consultant for the Archives of American Art, Washington, D.C., in her capacity as interviewer for the oral history project for which she has researched and interviewed countless artists, collectors, and other figures in the art world in Europe and the United States.

Related Materials:

Also in the Archives are the Avis Berman research material on Katharine Kuh, 1939-2006, research material on art and artists, 1976-1994, research material on Elie Nadelman, 2001, and an interview of Reuben Nakian conducted by Berman for the Archives Oral History Program, June 1981.

Provenance:

The collection was donated in 2020 and 2021 by Avis Berman.

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.

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.

The donor has retained all intellectual property rights, including copyright, that they may own in the following material: all writings by Avis Berman.

Occupation:

Art historians -- New York (State) -- New York  Search this

Authors -- New York (State) -- New York  Search this

Topic:

Women art dealers  Search this

Women art historians  Search this

Genre/Form:

Video recordings

Sound recordings

Interviews

Citation:

Avis Berman research material on Juliana Force, 1857-circa 2010. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bermavis4

See more items in:

Avis Berman research material on Juliana Force

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fe24ce94-5c70-4ab0-adc9-0193e72014bd

EDAN-URL:

ead_collection:sova-aaa-bermavis4

Creator:

Russell, Morgan, 1886-1953  Search this

Names:

Alvarez, Mabel, 1891-1985  Search this

Henri, Robert, 1865-1929  Search this

Huston, Walter, 1884-1950  Search this

Kikoïne, Michel, 1892-1968  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Stein, Leo, 1872-1947  Search this

Stravinsky, Igor, 1882-1971  Search this

Whitney, Gertrude Vanderbilt, 1875-1942  Search this

Extent:

6.8 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1977

Summary:

The Morgan Russell papers, 1891-1977, present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence, biographical material, transcripts of lectures given by Russell, illustrated notebooks and sketches, printed material and photographs.

Scope and Content Note:

The Morgan Russell papers present a good overview of Russell's career as a painter and sculptor, with an emphasis on his development of the color theory movement, Synchromism. The papers include correspondence with many prominent individuals who played a role in Russell's artistic development; biographical material primarily documenting his activities in Europe; transcripts of lectures given by Russell; illustrated notebooks and sketches documenting his interest in, and development of, color theory, music and Synchromism; printed material such as exhibition announcements, catalogs and clippings; and photographs of Russell, his wife, friends and artwork.

Arrangement:

The collection is arranged as 7 series according to record type and reflecting the lender's arrangement. With the exception of Series 1: Correspondence, all series are arranged chronologically.

Missing Title

Series 1: Correspondence, 1909-1964 (Reels 4524-4527)

Series 2: Biographical Material, 1925-1941 (Reel 4527)

Series 3: Business Records, 1911-1946 (Reel 4527)

Series 4: Writings, 1931-1953 (Reel 4527)

Series 5: Unbound Notes and Sketches, 1891-1977 (Reels 4528-4538)

Series 6: Printed Material, 1908-1963 (Reels 4539-4541)

Series 7: Photographs, 1908-1948 (Reel 4542)

Biographical Note:

Painter and sculptor Morgan Russell was born in New York City. He studied at the Art Students League and the New York School of Art with James Earle Fraser, Andrew Dasburg and Robert Henri from 1906 to 1907, before settling in Paris in 1909 where he remained for almost forty years. After meeting Stanton Macdonald-Wright in 1911, he became interested in Synchromism and studied with Canadian color theorist Ernest Tudor-Hart. In 1913 Russell produced the first abstract Synchromies and in 1917 developed a series of Synchromies entitled EIDOS. He visited California in the early 1930s, teaching at the Chouinard School of Art in Los Angeles from 1931-1932, in addition to lecturing at museums in Los Angeles and San Francisco. Russell left France permanently in 1946 and died in Pennsylvania in 1953.

Provenance:

The Morgan Russell papers were lent to the Archives of American Art for microfilming by the Montclair Art Museum in 1991. The material was returned to the lender in 1992.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Topic:

Synchromism (Art)  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York -- Interviews  Search this

Citation:

Morgan Russell papers, 1891-1977. Microfilm reels 4524-4542. Originals in the Montclair Art Museum.

Identifier:

AAA.russmorg

See more items in:

Microfilm of the Morgan Russell papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw978433968-7693-4610-a726-1f731d84a594

EDAN-URL:

ead_collection:sova-aaa-russmorg

Creator:

Kraushaar Galleries  Search this

Names:

Art Institute of Chicago  Search this

Carnegie Institute  Search this

Cleveland Museum of Art  Search this

Ernest Brown and Co.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New Britain Institute. Art Museum  Search this

Toledo Museum of Art  Search this

University of Nebraska--Lincoln. Department of Art  Search this

Whitney Museum of American Art  Search this

Wichita Art Museum  Search this

Albrizio, Humbert, 1901-1970  Search this

Allard, J.  Search this

Arnest, Bernard, 1917-  Search this

Bacon, Peggy, 1895-1987  Search this

Beal, Gifford, 1879-1956  Search this

Beal, Reynolds, 1866-1951  Search this

Bignou, Etienne  Search this

Bouché, Louis, 1896-1969  Search this

Brueming, Karen  Search this

Cantene, David  Search this

Cowles, Russell, 1887-1979  Search this

DeLonga, Leonard  Search this

Demuth, Charles, 1883-1935  Search this

Evett, Kenneth Warnock, 1913-  Search this

Fausett, Dean, 1913-  Search this

Flannery, Vaughn  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Guillaume, Paul, 1891-1934  Search this

Halberstadt, Ernst, 1910-1987  Search this

Hardy, Thomas, 1921-  Search this

Harrison, Preston  Search this

Hartell, John  Search this

Heliker, John, 1909-2000  Search this

Juley, Peter A., 1862-1937  Search this

Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this

Kraushaar, Antoinette M., 1902-1992  Search this

Kraushaar, John F., 1871-1946  Search this

Kuhn, Walt, 1877-1949  Search this

Lachaise, Gaston, 1882-1935  Search this

Lasker, Joe  Search this

Laurent, Robert, 1890-1970  Search this

Lechay, James  Search this

Luks, George Benjamin, 1867-1933  Search this

Miller, Harriette  Search this

Morris, Carl, 1911-1993  Search this

Murdock, Roland P. -- Art collections  Search this

Navas, Elizabeth S., 1885-1979  Search this

Penney, James, 1910-1982  Search this

Phillips, Duncan, 1886-1966  Search this

Prendergast, Charles, 1863-1948  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Robinson, Boardman, 1876-1952  Search this

Ruellan, Andrée, 1905-2006  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Sloan, John, 1871-1951  Search this

Smalley, David, 1940-  Search this

Smith, Vernon, 1894-1969  Search this

Stanley, Alix W.  Search this

Williams, Esther, 1907-1969  Search this

Wilson, Ralph L.  Search this

Extent:

106.3 Linear feet

0.181 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Date:

1877-2006

Summary:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

Scope and Content Note:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.

Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.

The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.

From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.

From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.

The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.

The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.

The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.

See Appendix for a list of Kraushaar Galleries exhibitions

Arrangement:

Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.

Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.

For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.

Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.

Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.

Missing Title

Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)

Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)

Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)

Series 4: Photographs, undated (box 54; 0.5 linear ft.)

Series 5: Artwork, [1926, 1938] (box 53; 2 items)

Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)

Historical Note:

Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.

In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.

When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.

Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).

Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.

During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.

Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."

While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."

Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.

In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.

Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"

Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."

In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.

By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.

In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.

By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:

Missing Title

1854 -- Charles W. Kraushaar born

1871 -- John F. Kraushaar born

1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street

1901 -- Galleries moved to 260 Fifth Avenue

1902 -- Antoinette Kraushaar born

1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition

1919 -- Galleries moved to 680 Fifth Avenue

[1920] -- Antoinette Kraushaar began assisting with the business

1924 -- Maurice Prendergast died

1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue

1938 -- William J. Glackens died

1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business

1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business

1948 -- Charles Prendergast died

1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries

1951 -- John Sloan died

1955 -- Galleries moved to 1055 Madison Avenue

1959 -- Carole Pesner joined Kraushaar Galleries

1964 -- Galleries extended into adjacent building

1981 -- Galleries moved to 724 Fifth Avenue

1986 -- Katherine Kaplan joined Kraushaar Galleries

1988 -- Antoinette Kraushaar retired from day-to-day management of the business

1992 -- Antoinette Kraushaar died

Appendix: List of Kraushaar Galleries Exhibitions:

The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.

Missing Title

Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour

Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner

Jan., 1913 -- Paintings by Ignacio Zuloaga

May, 1913 -- Etchings by Seymour Haden

June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour

Oct., 1913 -- Etchings by Frank Brangwyn

Jan., 1914 -- Ignacio Zuloaga

Mar., 1914 -- Paintings by Alphonse Legros

Apr., 1914 -- George Luks

May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler

undated, 1915 -- Paintings by John Lavery

Jan.-Feb., 1917 -- James McNeill Whistler's White Girl

Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack

Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan

Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros

Oct., 1917 -- Monoprints by Salvatore Antonio Guarino

Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth

Jan., 1918 -- Recent Paintings by John Lavery

Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks

Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack

Mar., 1918 -- Paintings by John Sloan

Apr.-May, 1918 -- Paintings by A. L. Bouche

May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack

Oct., 1918 -- Oil Paintings by William Scott Pyle

Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young

Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino

Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack

Mar., 1919 -- Paintings and Drawings by John Sloan

May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder

Sept., 1919 -- Work by Jean Louis Forain

Oct., 1919 -- Etchings and Lithographs by Alphonse Legros

Jan., 1920 -- Recent Paintings by George Luks

Feb., 1920 -- Recent Paintings by John Sloan

Feb., 1920 -- Paintings by William Scott Pyle

Mar., 1920 -- Recent Paintings by Gifford Beal

Apr., 1920 -- Recent Paintings by Augustus Vincent Tack

Apr., 1920 -- Paintings by Henri Le Sidaner

Apr., 1920 -- Paintings and Drawings by Jean Louis Forain

Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers

May, 1920 -- Paintings by Henrietta M. Shore

Jan., 1921 -- Paintings by French and American Artists

Jan.-Feb., 1921 -- Paintings by George Luks

Feb., 1921 -- New Paintings by Augustus Vincent Tack

Apr., 1921 -- John Sloan Retrospective

Summer, 1921 -- French and American Artists

Oct., 1921 -- Paintings of Mountford Coolidge

Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner

Nov., 1921 -- Frank Van Vleet Tompkins

Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art

Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks

Feb., 1922 -- Paintings by Augustus Vincent Tack

Mar., 1922 -- Paintings and Watercolors by Gifford Beal

Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois

Summer, 1922 -- Paintings by Modern Masters of American and European Art

Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks

Jan., 1923 -- Exhibition of Paintings by George Luks

Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack

Mar., 1923 -- Landscapes by Will Shuster

Mar., 1923 -- Paintings by Samuel Halpert

Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal

Apr.-May, 1923 -- Paintings by John Sloan

May, 1923 -- Paintings by Frank Van Vleet Tompkins

June, 1923 -- Etchings by Marius A. J. Bauer

Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach

Dec., 1923 -- Etchings and Lithographs by Alphonse Legros

Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff

Jan., 1924 -- Paintings by Celebrated American Artists

Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois

Apr., 1924 -- New Paintings by George Luks

May, 1924 -- Paintings by Marjorie Phillips

Summer, 1924 -- French and American Modern Artists

Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach

Nov., 1924 -- Watercolors by Seven Americans

Dec., 1924 -- French Paintings

Jan., 1925 -- Paintings by John Sloan

Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition

Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay

Apr., 1925 -- Paintings by William J. Glackens

Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach

undated, 1926 -- Lower Broadway by W. Walcot

Feb., 1926 -- Paintings by Paul Burlin

Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack

Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal

Apr., 1926 -- John Sloan

Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson

Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists

Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan

Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry

Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach

Jan., 1927 -- French Drawings and Prints

Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan

Mar., 1927 -- Gifford Beal

Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent

Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers

Apr., 1927 -- Paintings and Etchings by Walter Pach

Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage

Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis

May, 1927 -- Paintings by Guy Pène Du Bois

Summer, 1927 -- Paintings by American Artists

Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat

Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel

Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene

Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach

Dec., 1927 -- Paintings by Guy Pène Du Bois

Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle

Jan.-Feb., 1928 -- Paintings by S. J. Peploe

Feb., 1928 -- Drawings by Henri Fantin-Latour

Feb., 1928 -- Pastels and Drawings by Margarett Sargent

Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton

Feb.-Mar., 1928 -- Sculpture by William Zorach

Mar., 1928 -- Recent Paintings by Marjorie Phillips

Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens

Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England

Oct., 1928 -- Modern French Paintings, Watercolors and Drawings

Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey

Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson

Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach

Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz

Jan., 1929 -- Exhibition of Paintings by Margarett Sargent

Jan., 1929 -- Watercolors by Rodin

Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler

Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois

Feb.-Mar., 1929 -- Paintings by Gifford Beal

Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers

Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan

Apr., 1929 -- Exhibition of Paintings by Arnold Friedman

Apr., 1929 -- Sculpture by Harriette G. Miller

May, 1929 -- Paintings by Howard Ashman Patterson

May, 1929 -- Paintings by William Meyerowitz

Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings

Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)

Jan., 1930 -- Paintings by Paul Bartlett

Feb., 1930 -- Watercolors by Auguste Rodin

Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois

Summer, 1930 -- Paintings by American Artists

Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast

Nov., 1930 -- Paintings by Ruth Jonas

Nov., 1930 -- Sculpture by Harriette G. Miller

Jan., 1931 -- Paintings and Watercolors by Richard Lahey

Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson

Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal

Mar., 1931 -- Paintings and Watercolors by Walter Pach

Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter

May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey

Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings

Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John

Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec

Jan., 1932 -- Watercolors by Pierre Brissaud

Feb., 1932 -- Paintings and Drawings by A. S. Baylinson

Mar., 1932 -- Watercolors and Pastels by French and American Artists

Apr., 1932 -- Paintings by Nan Watson

May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast

June-Aug., 1932 -- Paintings and Watercolors by American Artists

Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists

Jan., 1933 -- Paintings by Paul Bartlett

Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour

Feb., 1933 -- Etchings of Dogs by Bert Cobb

Feb.-Mar., 1933 -- Paintings by American Artists

Feb.-Apr., 1933 -- Paintings by Contemporary Americans

Apr., 1933 -- Paintings by Maurice Prendergast

Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings

Oct.-Nov., 1933 -- Drawings by Emily W. Miles

Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs

Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1933 -- Watercolors by Gifford Beal

Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"

Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan

Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs

Nov.-Dec., 1934 -- Paintings by Gifford Beal

Mar., 1935 -- Complete Collection of Etchings by Mahonri Young

July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz

Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast

Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg

Mar., 1936 -- Paintings by Louis Bouché

Apr., 1936 -- Paintings by Gifford Beal

Oct.-Nov., 1936 -- Loan Collection of French Paintings

Dec., 1936 -- Monotypes in Color by Maurice Prendergast

Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg

Jan., 1937 -- Paintings of Flowers by William J. Glackens

Feb., 1937 -- Etchings by John Sloan

Feb., 1937 -- A Group of American Paintings

Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir

Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast

Dec., 1937 -- American Watercolors

Jan.-Feb., 1938 -- Paintings by Gifford Beal

Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman

Apr., 1938 -- Paintings by Louis Bouché

May, 1938 -- Paintings and Pastels by Randall Davey

Oct., 1938 -- Selected Paintings by Modern French and American Artists

Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938

Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller

Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others

Jan., 1939 -- Paintings by H. H. Newton

Oct., 1939 -- French and American Paintings

Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes

Nov., 1939 -- Paintings and Watercolors by Russell Cowles

Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché

Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg

Mar.-Apr., 1940 -- Paintings by Maurice Prendergast

Apr.-May, 1940 -- Watercolors by Charles Kaeselau

May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian

Oct., 1940 -- Drawings by American Artists

Nov., 1940 -- Walt Dehner

Mar., 1941 -- John Koch

May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal

Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles

Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1941 -- Charles Prendergast

Jan., 1942 -- Paintings by Samuel Brecher

Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois

Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché

Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"

Dec., 1942 -- Paintings from the Period of the Last War

Feb., 1943 -- Paintings and Watercolors by William Dean Fausett

Mar., 1943 -- Paintings by John Hartell

May-July, 1943 -- Watercolors by Contemporary American Artists

Feb.-Mar., 1944 -- Samuel Brecher

Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan

Mar., 1944 -- Vaughn Flannery

Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles

Apr.-May, 1944 -- Recent Paintings by Louis Bouché

May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller

Oct., 1944 -- Esther Williams

Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast

Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition

Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan

Jan.-Feb., 1945 -- Paintings by Gifford Beal

Feb.-Mar., 1945 -- Paintings by Andrée Ruellan

Apr.-May, 1945 -- Charles Locke

May-June, 1945 -- William Dean Fausett

Oct., 1945 -- Paintings by John Hartell

Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase

Nov.-Dec., 1945 -- Gouaches by Cecil Bell

Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman

undated, 1946 -- Russell Cowles

Jan.-Feb., 1946 -- Richard Lahey

Feb., 1946 -- John Koch

Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt

Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg

Mar., 1946 -- Iver Rose

Apr., 1946 -- Louis Bouché

Apr.-May, 1946 -- Russell Cowles

May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith

Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson

Nov., 1946 -- Guy Pène Du Bois

Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition

Jan., 1947 -- Karl Schrag

Feb.-Mar., 1947 -- Sculpture by Robert Laurent

Feb.-Mar., 1947 -- Paintings by Iver Rose

Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith

Apr., 1947 -- Charles Prendergast

Apr., 1947 -- Louis Bouché

Apr.-May, 1947 -- Esther Williams

Oct.-Nov., 1947 -- Anna Licht

Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens

Mar., 1948 -- Russell Cowles

Apr.-May, 1948 -- Bernard Arnest

Aug.-Sept., 1948 -- New York Paintings and Watercolors

Oct.-Nov., 1948 -- Kenneth Evett

Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller

Jan.-Feb., 1949 -- John Hartell

Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches

Oct., 1949 -- Contemporary Paintings

Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors

Jan.-Feb., 1950 -- James Penney

Feb.-Mar., 1950 -- Paintings by Karl Schrag

Mar.-Apr., 1950 -- Russell Cowles

Jan.-Feb., 1951 -- William Sommer

Feb., 1951 -- Prints and Drawings by Various Artists

Feb., 1951 -- Paintings by Louis Bouché

Mar., 1951 -- Kenneth Evett

Apr.-May, 1951 -- Paintings by Gallery Artists

May-July, 1951 -- Contemporary American Watercolors

July-Aug., 1951 -- Paintings on the Summer Theme

Sept.-Oct., 1951 -- Vaughn Flannery

Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists

Nov., 1951 -- Paintings by John Koch

Nov.-Dec., 1951 -- Joe Lasker

Dec., 1951 -- Small Prints and Drawings

Jan., 1952 -- Recent Gouaches by William Kienbusch

Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career

Feb.-Mar., 1952 -- Andrée Ruellan

Mar.-Apr., 1952 -- Bernard Arnest

Apr.-May, 1952 -- Recent Sculpture by Robert Laurent

May, 1952 -- Recent Paintings by Contemporary American Artists

May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld

July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag

Nov., 1952 -- Karl Schrag

Dec., 1952-Jan. 1953 -- Eight Oregon Artists

Jan., 1953 -- Charles Prendergast Memorial Exhibition

Jan.-Feb., 1953 -- John Hartell

May, 1953 -- John Heliker

June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag

Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay

Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan

Oct.-Nov., 1953 -- Paintings by E. Powis Jones

Oct.-Nov., 1953 -- Recent Works by John Koch

Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology

Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy

Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon

Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin

Feb.-Mar., 1954 -- Russell Cowles

Mar.-Apr., 1954 -- James Penney

Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures

Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey

Jan.-Feb., 1955 -- James Lechay

Feb., 1955 -- Mobiles by George Rickey

Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)

Mar.-Apr., 1955 -- Jane Wasey

Apr., 1955 -- Recent Work by Joe Lasker

May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists

Jan., 1956 -- Carl Morris

Jan.-Feb., 1956 -- John Laurent

Feb.-Mar., 1956 -- William Kienbusch

Mar., 1956 -- Andrée Ruellan

Mar.-Apr., 1956 -- Karl Schrag

Apr.-May, 1956 -- John Heliker

May, 1956 -- Monotypes by Maurice Prendergast

Oct., 1956 -- The Eight

Jan.-Feb., 1957 -- Paintings by John Hartell

Apr., 1957 -- James Penney

Apr.-May, 1957 -- John Heliker

May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)

June-July, 1957 -- 20th Century American Artists

Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)

Nov., 1957 -- Marguerite Zorach

Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke

Jan.-Feb., 1958 -- Tom Hardy

Feb.-Mar., 1958 -- John Koch

Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast

Feb.-Mar., 1958 -- Cecil Bell

Mar., 1958 -- Karl Schrag

Mar., 1958 -- Carl Morris

Mar.-Apr., 1958 -- Louis Bouché

Apr., 1958 -- Paintings and Drawings by Joe Lasker

Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman

Apr.-May, 1958 -- Sculpture by Henry Mitchell

May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag

July, 1958 -- Still Life Paintings and Watercolors by American Artists

Oct.-Nov., 1958 -- Kenneth Evett

Nov., 1958 -- Elsie Manville

Nov.-Dec., 1958 -- John Laurent

Jan., 1959 -- Kinetic Sculpture by George Rickey

Jan.-Feb., 1959 -- Bernard Arnest

Mar., 1959 -- Karl Schrag

Mar.-Apr., 1959 -- Paintings by Joe Lasker

Apr.-May, 1959 -- Henry Mitchell

Sept.-Oct., 1959 -- Robert Searle

Oct.-Nov., 1959 -- Russell Cowles

Nov., 1959 -- Caseins and Paintings by William Kienbusch

Dec., 1959 -- Paintings by Vaughn Flannery

Feb., 1960 -- James Lechay

Apr., 1960 -- Landscapes by John Sloan

Apr.-May, 1960 -- John Guerin

May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists

Oct., 1960 -- Ainslie Burke

Oct.-Nov., 1960 -- Leon Goldin

Nov.-Dec., 1960 -- Ulfert Wilke

Jan., 1961 -- Leonard DeLonga

Jan., 1961 -- Kenneth Evett

Jan.-Feb., 1961 -- Walter Feldman

Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists

Mar., 1961 -- Paintings by Ralph Dubin

Mar.-Apr., 1961 -- James Penney

Apr.-May, 1961 -- John Koch

June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach

Sept., 1961 -- Works by Contemporary Americans

Oct., 1961 -- George Rickey: Kinetic Sculpture

Oct.-Nov., 1961 -- Carl Morris

Nov.-Dec., 1961 -- Peggy Bacon

Dec., 1961 -- Selected Works by Twentieth-Century Americans

Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett

Jan.-Feb., 1962 -- Louis Bouché

Feb.-Mar., 1962 -- Karl Schrag

Mar., 1962 -- Marguerite Zorach

Apr., 1962 -- John Laurent

Apr.-May, 1962 -- Sculpture by Tom Hardy

May-June, 1962 -- Drawings by Contemporary American Artists

July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists

Oct., 1962 -- Bernard Arnest

Feb., 1963 -- William Kienbusch

Feb.-Mar., 1963 -- John Guerin

Mar., 1963 -- John Hartell

Sept.-Oct., 1963 -- Andrée Ruellan

Oct.-Nov., 1963 -- Ainslie Burke

Nov., 1963 -- Walter Feldman

Dec., 1963 -- Drawings by John Koch

Dec., 1963 -- Paintings by Contemporary Americans

Jan., 1964 -- Leonard DeLonga

Jan.-Feb., 1964 -- Joe Lasker

Feb.-Mar., 1964 -- Leon Goldin

Mar., 1964 -- Paintings by Ralph Dubin

Apr., 1964 -- Carl Morris

Apr.-May, 1964 -- Paintings and Drawings by John Heliker

Oct.-Nov., 1964 -- Louis Bouché

Nov.-Dec., 1964 -- Karl Schrag

Dec., 1964 -- Kenneth Evett

Feb., 1965 -- Russell Cowles

Feb.-Mar., 1965 -- James Lechay

Mar.-Apr., 1965 -- James Penney

Apr.-May, 1965 -- Gifford Beal

Feb., 1966 -- Dennis Leon

Feb.-Mar., 1966 -- Henry Schnakenberg

Mar.-Apr., 1966 -- John Hartell

Apr., 1966 -- Elsie Manville

Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries

Oct.-Nov., 1966 -- Tom Hardy

Nov.-Dec., 1966 -- Francis Chapin

Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs

Jan.-Feb., 1967 -- Leonard DeLonga

Feb.-Mar., 1967 -- Carl Morris

Mar.-Apr., 1967 -- Ainslie Burke

Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors

May-June, 1967 -- William Glackens

Oct., 1967 -- Kenneth Callahan

Oct.-Nov., 1967 -- John Laurent

Jan.-Feb., 1968 -- Dennis Leon

Feb.-Mar., 1968 -- Robert La Hotan

Apr., 1968 -- John Guerin

Apr.-May, 1968 -- Leon Goldin

Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings

Oct.-Nov., 1968 -- Karl Schrag

Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes

Dec., 1968-Jan., 1969 -- Group Exhibition

Jan., 1969 -- Elsie Manville

Mar., 1969 -- Kenneth Evett

Apr.-May, 1969 -- James Penney

Sept.-Oct., 1969 -- New Works by Contemporary Artists

Oct.-Nov., 1969 -- John Hartell: Exhibition

Nov., 1969 -- Peggy Bacon

Dec., 1969 -- Selected Examples by American Artists 1900-1930

Jan., 1970 -- Leonard DeLonga

Feb., 1970 -- Joe Lasker

Mar., 1970 -- Group Exhibition

Mar.-Apr., 1970 -- Dennis Leon

Apr.-May, 1970 -- Jerome Myers

Oct.-Nov., 1970 -- Tom Hardy

Jan.-Feb., 1971 -- Jane Wasey

Mar.-Apr., 1971 -- Kenneth Callahan

Oct., 1971 -- Ainslie Burke

Nov.-Dec., 1971 -- Karl Schrag

Feb.-Mar., 1972 -- John Koch

Mar.-Apr., 1972 -- Robert La Hotan

Apr.-May, 1972 -- Leon Goldin

May-June, 1972 -- Selected Works by 20th Century Americans

Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings

Oct.-Nov., 1972 -- John Hartell

Nov.-Dec., 1972 -- Peggy Bacon

Dec., 1972 -- 20th Century Americans

Jan., 1973 -- Leonard DeLonga

Feb., 1973 -- Carl Morris

Mar., 1973 -- James Lechay

Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings

Apr.-May, 1973 -- Jerome Witkin

May-June, 1973 -- Kenneth Evett: Watercolors

Oct.-Nov., 1973 -- Kenneth Callahan

Jan., 1974 -- Joe Lasker

Jan.-Feb., 1974 -- Bernard Arnest

Feb.-Mar., 1974 -- Concetta Scaravaglione

Oct., 1974 -- Ainslie Burke

Oct.-Nov., 1974 -- James Penney

Jan., 1975 -- Tom Hardy

Jan.-Feb., 1975 -- Karl Schrag

Feb.-Mar., 1975 -- Robert La Hotan

Mar.-Apr., 1975 -- William Kienbusch

Apr., 1975 -- Elsie Manville

Apr.-May, 1975 -- Gifford Beal

Oct.-Nov., 1975 -- John Hartell

Nov., 1975 -- Daniel O'Sullivan

Mar., 1976 -- Jerome Witkin

May, 1976 -- Linda Sokolowski

Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After

Oct., 1976 -- Leonard DeLonga

Nov.-Dec., 1976 -- Kenneth Callahan

Jan., 1977 -- James Lechay

Mar., 1977 -- Karl Schrag

Mar.-Apr., 1977 -- David Cantine

Oct.-Nov., 1977 -- John Hartell

Nov.-Dec., 1977 -- Ainslie Burke

Feb., 1978 -- Robert La Hotan

Apr., 1978 -- Elsie Manville

Oct., 1978 -- Tom Hardy

Oct.-Nov., 1978 -- Jerome Witkin

Jan.-Feb., 1979 -- Joe Lasker

Feb., 1979 -- Kenneth Evett

Feb.-Mar., 1979 -- Karl Schrag

Mar.-Apr., 1979 -- Carl Morris

Apr.-May, 1979 -- Linda Sokolowski

Oct.-Nov., 1979 -- Daniel O'Sullivan

Feb.-Mar., 1980 -- Kenneth Callahan

Mar., 1980 -- Ainslie Burke

Oct., 1980 -- John Hartell

Jan., 1981 -- Leonard DeLonga

Feb., 1981 -- James Lechay

Feb.-Mar., 1981 -- Robert La Hotan

Mar.-Apr., 1981 -- Jerry Atkins

Apr.-May, 1981 -- Ben Frank Moss

Jan.-Feb., 1982 -- Jerome Witkin

Feb.-Mar., 1982 -- Elsie Manville

Mar.-Apr., 1982 -- Karl Schrag

Apr.-May, 1982 -- Linda Sokolowski

May-June, 1982 -- David Cantine

Sept.-Oct., 1982 -- Kenneth Callahan

Oct.-Nov., 1982 -- Joe Lasker

Nov.-Dec., 1982 -- Daniel O'Sullivan

Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition

Feb.-Mar., 1983 -- Jerry Atkins

Mar.-Apr., 1983 -- John Hartell

Apr.-May, 1983 -- John Heliker

May-June, 1983 -- Kenneth Evett

Oct., 1983 -- Concetta Scaravaglione

Oct.-Nov., 1983 -- Ben Frank Moss

Nov.-Dec., 1983 -- Russell Cowles

Dec., 1983-Jan., 1984 -- 20th Century Americans

Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad

Feb.-Mar., 1984 -- Robert La Hotan

Mar., 1984 -- David Smalley

Apr., 1984 -- Carl Morris

May, 1984 -- Karl Schrag

July, 1984 -- Drawings by 20th Century Americans

July-Aug., 1984 -- Collages and Drawings by Joseph Heil

Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy

Sept.-Oct., 1984 -- James Penney: Memorial Exhibition

Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin

Nov.-Dec., 1984 -- Isabelle Siegel

Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture

Jan.-Feb., 1985 -- James Lechay

Feb.-Mar., 1985 -- Ainslie Burke

Mar., 1985 -- Karen Breunig

Apr., 1985 -- Kenneth Callahan

Oct., 1985 -- Elsie Manville

Oct.-Nov., 1985 -- William Glackens

Jan.-Feb., 1986 -- Linda Sokolowski

Feb.-Mar., 1986 -- Jerry Atkins

Apr.-May, 1986 -- Jane Wasey

Oct.-Nov., 1986 -- John Hartell

Nov.-Dec., 1986 -- Karl Schrag

Feb.-Mar., 1987 -- Kenneth Evett

Apr.-May, 1987 -- Ben Frank Moss

May-June, 1987 -- David Smalley

Oct.-Nov., 1987 -- Isabelle Siegel

Feb.-Mar., 1988 -- Karen Breunig

Mar.-Apr., 1988 -- Leon Goldin

Sept.-Oct., 1988 -- Elsie Manville

Oct.-Nov., 1988 -- James Lechay

Jan.-Feb., 1989 -- Karl Schrag

Feb.-Mar., 1989 -- Linda Sokolowski

Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties

Jan.-Feb., 1990 -- Gifford Beal: Watercolors

Mar., 1990 -- Robert La Hotan: Recent Paintings

Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings

May-June, 1990 -- David Smalley: Recent Sculpture

May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...

Oct., 1990 -- Isabelle Siegel

Nov., 1990 -- Leon Goldin

Jan.-Feb., 1991 -- Karl Schrag

Feb.-Mar., 1991 -- Joe Lasker

Apr., 1991 -- Ainslie Burke

Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes

Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper

Mar., 1992 -- Tabitha Vevers

May-June, 1992 -- Sonia Gechtoff

Oct.-Nov., 1992 -- James Lechay

Nov.-Dec., 1992 -- Karl Schrag

Mar., 1993 -- Leon Goldin: Works on Paper

Apr.-May, 1993 -- Robert La Hotan

Oct., 1993 -- David Smalley: Sculpture Inside and Out

Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980

Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)

Mar.-Apr., 1994 -- Tabitha Vevers

Oct.-Nov., 1994 -- Linda Sokolowski

Nov.-Dec., 1994 -- Karl Schrag

Jan.-Feb., 1995 -- Langdon Quin

Mar.-Apr., 1995 -- Robert La Hotan

Sept.-Oct., 1995 -- Sonia Gechtoff

Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper

Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995

Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors

Mar.-Apr., 1997 -- Tabitha Vevers

Oct.-Nov., 1997 -- James Lechay

Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest

Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper

Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere

Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings

Nov.-Dec., 1998 -- John Gill

Jan.-Feb., 1999 -- Robert La Hotan

Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart

Nov.-Dec., 1999 -- Kathryn Wall

Jan.-Feb., 2000 -- Elsie Manville

Sept.-Oct., 2000 -- Joe Lasker

Oct.-Nov., 2000 -- James Lechay

Oct.-Nov., 2000 -- Tabitha Vevers

May-June, 2001 -- Kenneth Callahan: Drawings

Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper

Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow

undated, 2003 -- Ann Sperry

Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s

Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements

Nov.-Dec., 2003 -- Tabitha Vevers

Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper

May-July, 2004 -- Anne Frank: A Private Photo Album

Jan.-Feb., 2005 -- John Gill: Ceramics

Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights

Related Material:

An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.

Separated Material:

In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.

Provenance:

53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.

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. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. 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.

Topic:

Works of art  Search this

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

Identifier:

AAA.kraugall

See more items in:

Kraushaar Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9507d7d92-d503-4ed4-9ed6-12975adb8473

EDAN-URL:

ead_collection:sova-aaa-kraugall

Creator:

Zorach Family  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Adams, Ansel, 1902-1984  Search this

Cunningham, Imogen, 1883-1976  Search this

Ipcar, Dahlov, 1917-2017  Search this

Newman, Arnold, 1918-2006  Search this

Partridge, Roi, 1888-1984  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, Tessim  Search this

Zorach, William, 1887-1966  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Date:

1900-1987

Summary:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

Scope and Content Note:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)

Biographical Note:

William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.

Related Material:

The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.

Separated Material:

The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.

Provenance:

William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.

Restrictions:

Use of originals 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:

Art dealers -- New York (State) -- New York  Search this

Painters -- New York (State) -- New York  Search this

Sculptors -- New York (State) -- New York  Search this

Weavers  Search this

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Artist couples  Search this

Artists' studios -- Photographs  Search this

Works of art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Citation:

The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.zorazora

See more items in:

The Zorach family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5

EDAN-URL:

ead_collection:sova-aaa-zorazora