5.1 Linear feet ((partially microfilmed on 6 reels))
Type:
Collection descriptions
Archival materials
Date:
1905-1969
Scope and Contents:
Photographs, correspondence, appointment books, etchings, a scrapbook, printed materials, writings, and posters.
REEL D113: Primarily letters received from artists, 1940s-50s; background material for Ft.Lee and Amsterdam (N.Y.) murals; and miscellaneous printed material and photographs.
Correspondents include John Angel, Artists Equity, Peggy Bacon, Gifford Beal, Henry Billings, Isabel Bishop, Peter Blume, Louis Bouche, Van Wyck Brooks, Audrey Buller, Paul Cadmus, Alexander Calder, William Congdon, Horace T. Day, Olin Dows, Marcel Duchamp, Emlen P. Etting, Philip Evergood, Barry Faulkner, Ernest Fiene, Leon Hartl, Whitney F. Hoyt, William M. Ivins, Jr., Lincoln E. Kirstein, Leon Kroll, Yasuo Kuniyoshi, Edward Laning, Joseph L. Lasker, Clare Leighton, Charles W. Locke, Sanford B.D. Low, Luigi Lucioni, Reginald Marsh, Kenneth H. Miller, Nat'l Institute of Arts and Letters, Betty Parsons, Hugo Robus, Homer Saint-Gaudens, Katherine Schmidt, Ben Shahn, Charles Sheeler, Eugene Speicher, Theodoros Stamos, Franklin C. Watkins, Forbes and Nan Watson, and Leonard Weisgard.
REEL 847: Photographs, including 67 of Schnakenberg and friends, 1 of a portrait of him by Lloyd Goff, 95 of his oil paintings, 33 of his watercolors, 25 of his works in unidentified media, 29 of works by other artists, and 46 of pre-Columbian art from Central and South America. Among artists whose works are included are Antoine Louis Barye, Albert Bierstadt, Frederick Catherwood, Constantin Guys, Thomas Hardy, William Harnett, Winslow Homer, George Inness, Eastman Johnson, Yasuo Kuniyoshi, Reginald Marsh, Rockland Savery, Theodoros Stamos, and Arthur Fitzwilliam Tait.
REELS 850-853: Biographical information; personal and business correspondence; 17 diaries, mainly about Schnakenberg's travels, 1905-1960; appointment calendars, 1963-1969; 70 etchings by Schnakenberg; a scrapbook containing clippings, catalogs, and other printed material; a book published by G. Alan Chidsey on Schnakenberg; clippings, catalogs, and announcements; papers relating to gifts and acquisitions of works of art; receipts for Schnakenberg paintings from C.W. Kraushaar Galleries; a 650-page typescript for a book "The Background of Painting" by Schnakenberg; and drafts of speeches.
UNMICROFILMED: Six World War I posters designed by Schnakenberg; Christmas cards from artists and other friends; printed material; and a photograph of Lloyd Goff, inscribed to Schnakenberg, in front of one of his paintings, 1939.
Biographical / Historical:
Painter, etcher; Newton, Conn.
Provenance:
Material donated 1963-1971 by Schnakenberg and, after his death, by his estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.
There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.
Scope and Contents:
The papers of conservator and museum director George Leslie Stout measure 6.4 linear feet and date from 1855, 1897-1978. Stout was head of the conservation department at Harvard University's Fogg Art Museum, director of the Worcester Art Museum and Isabella Stewart Gardner Museum in Massachusetts, and a member of the Monuments, Fine Art and Archives (MFAA) Section of the U.S. Army during World War II. The bulk of the collection consists of correspondence with family, friends, colleagues and professional associations. There are letters from fellow Monuments Men who served in the MFAA section such as Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner and several other prominent arts administrators. The papers also contain biographical materials, writings, sketches and one sketchbook, military records, printed materials, and photographs.
There is a 0.2 linear foot addition to this collection acquired in 2020 that includes four diaries, 1944-1946, kept by George Stout as a member of the Monuments, Fine Arts and Archives Section (MFAA) of the U.S. Army (known as the Monuments Men). The diaries describe Stout's experiences surveying war-caused damages in France, Germany, and Japan, and the recovery of Nazi impounded art works. Also included is a hand-made booklet that includes a "Glossary of Cha-no-yu Terms," which consists of quotes about Japanese art and tea drinking.
Biographical materials include college and graduate school transcripts, various certificates, four small appointment books and passports.
Correspondence is between George Leslie Stout and family, friends, colleagues, professional associations and fellow Monuments Men. Family correspondence is with Stout's immediate and extended family, the bulk of which is from Stout to his wife Margaret and his son Thomas. Correspondents in the Monuments Men correspondence include Thomas Carr Howe, Ardelia Hall, Lamont Moore, Theodore Sizer, Langdon Warner, and many others. There is also substantial correspondence with friends and professional colleagues in the museum and art world, such as Walter Beck, Richard D. Buck, William George Constable, Earl of Crawford, George Peabody Gardner, Jr., William Ivins, Jr., Henri Marceau, and Paul Sachs, among many others.
Writings by Stout consist of typescript drafts and published articles, speeches, and miscellaneous notes. Most of the writings concern art conservation and the speeches are memorials for two of Stout's colleagues. Notes consists of drafts for the texts of holiday cards Stout designed, biographical notes, and images and captions for The Care of Pictures. There are also three conference papers on art conservation written by other people.
Subject files document Stout's conservation projects as a consultant for museums, universities, galleries and other organizations. Also found in this series are documents relating to Stout's work after retiring from the Isabella Gardner Museum and his membership or participation in various arts programs and organizations.
A separate series contains files relating to Stout's World War II service in the Monuments, Fine Arts & Archives (MFAA) Section. Found here are official military records, publications by Monuments Men, and a few scattered photographs. Military records include directives, reports, certificates and a bronze star medal. There are articles and books written by various Monuments Men such as Langdon Warner, Lincoln Kirstein and Theodore Sizer. There are also scattered photographs, only two of which depict tout (including one group photograph with Lamont Moore, Walker Hancock and other Monuments Men.) There are also 12 negatives with 4 prints depicting La Gleize Church and the town of Ambleve, Belgium in 1945. There are also four diaries documenting Stout's experiences in the MFAA Section in Europe and Japan from 1944-1946.
Personal business records include assorted legal and estate papers as well as financial papers such as receipts, travel expenses and donations.
Printed materials consists of news clippings, bulletins, brochures, press releases, conference papers, and magazine and journal articles, most of it related to art conservation.
Artwork includes pencil and ink drawings and sketches, mostly of travel scenes, people, and animals. There is one sketchbook of the human figure. Many sketches were loosely grouped together by Stout with titles such as "Pool Doodles" or "Park and Zoo." The is also one caricature of Eric Brown by Murray Pease.
The papers include photographs and negatives, mostly personal photographs of friends, family, relatives and colleagues. There are also photographs of art conservation conferences and travel photographs. Additional scattered photographs are located in the series containing the Monuments Men files.
Arrangement:
This collection is arranged as 9 series.
Missing Title
Series 1: Biographical Materials, circa 1919-1977 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1922-1978 (2.5 linear feet; Box 1-3, OV 8)
Series 3: Writings, 1927-1978 (0.5 linear feet; Box 3-4)
Series 4: Subject Files, 1918, 1943-1978 (1 linear feet; Box 4, OV 8-9)
Series 5: Monuments, Fine Arts & Archives Section Files, 1918, 1942-1955, 1972-1975 (0.5 linear feet; Box 5, 10)
Series 6: Personal Business Records, 1938-1978 (0.1 linear feet; Box 5)
Series 7: Printed Materials, 1926-1977 (0.8 linear feet; Box 5-6, OV 9)
Series 8: Sketchbooks, circa 1924-circa 1938, 1970-1977 (0.1 linear feet; Box 6)
Series 9: Photographic Materials, circa 1855, 1897-1978 (0.2 linear feet; Box 6-7)
Biographical / Historical:
George Leslie Stout (1897-1978) was a museum director and prominent art conservator in Massachusetts. Stout was head of the conservation department at Harvard University's Fogg Art Museum, and director of the Worcester Art Museum and Isabella Stewart Gardner Museum, Massachusetts. During World War II, Stout served in the U.S. Army Monuments, Fine Art and Archives (MFAA) and played a leading role in the protection, location, and recovery of art work stolen by the Nazis.
Born in Winterset, Iowa in 1897, George Leslie Stout was the oldest of six children and attended Winterset High School and served in the U.S. army during World War I. Following the war, Stout studied at the State University of Iowa, received his B.A. in 1921, worked for a few years, and married Margaret Hayes in 1924 with whom he had two sons, Robert and Thomas. He attended Harvard graduate school in 1926 and graduated with a Master of Art in 1929. Stout began working as a lecturer and conservator at Harvard's Fogg Art Museum, later becoming the head of the conservation department in 1933, a position he held until 1947.
During World War II, Stout re-enlisted in the U.S. Navy, having served in the reserves since World War I. Stout was one of the first members of the Monuments, Fine Arts & Archives (MFAA) Section of the U.S. army. He was appointed to the MFAA Section for the Twelfth Army Group in 1944 and was one of the first Monuments Men to arrive at Normandy, France. He was later appointed Lieutenant Commander of the MFAA Section. Many of the Monuments Men's stolen art recovery achievements were directed by George Leslie Stout. Stout supervised the inventory and removal of looted art hidden by the Nazis in the salt mines of Merkers and Ransbach in Thuringia, Germany. Stout oversaw the organization, packing, and shipping of several thousand objects including paintings by Rubens and Goya, along with precious antiquities. At the Altaussee salt mines in Austria, he was in charge of the unit that recovered a large cache of stolen artwork that included Michelangelo's Madonna and Child and the Ghent Altarpiece or The Adoration of the Mystic Lamb by Hubert and Jan van Eyck. There, he also worked very closely with fellow Monuments Men Thomas Carr Howe. Stout went on to locate and recover looted artwork in other repositories in Germany, France, and the Netherlands. He maintained a relationship with many of his fellow Monuments Men after the war.
Stout left Europe in the latter half of 1945, then went to Japan where he served as the Chief of the Arts and Monuments Division at Headquarters of the Supreme Commander for the Allied Powers, Tokyo until the middle of 1946. After the war Stout received the Bronze Star and the Army Commendation Medal for his army service and work as a Monuments Man in Europe.
Stout resumed his position as the head of the conservation department at the Fogg Art Museum when he returned to America. In 1947 he became the director of the Worcester Art Museum in Massachusetts where he stayed until 1955, when he became the director of the Isabella Stewart Gardner Museum in Boston where he worked until his retirement in 1970. Stout wrote numerous articles about art conservation and wrote two books: Painting Materials, A Short Encyclopaedia (1942), co-authored with Harvard colleage R. J. Gettens, and Care of Pictures (1948). Stout died in Menlo Park, California in 1978 and was widely recognized as a distinguished art conservator.
Related Materials:
Also found in the Archives of American Art is an oral history interview with George Stout conducted by Paul Karlstrom in 1978.
Provenance:
George Leslie Stout donated his papers to the Archives of American Art in 1978. In that same year, Robert Stout, son of George Leslie Stout, loaned four diaries to the Archives of American Art for microfilming. The four diaries were acquired at auction by the Archives in 2020 with generous donations from Paul Neely, David Copperfield in memory of Kelly Asbury, Deborah Lehr and John Rogers, Ambassador Nicholas F. Taubman, The Whitney and Elizabeth MacMillan Foundation, Jeffrey P. Cunard and Mariko Ikehara; The Elbrun and Peter Kimmelman Family Foundation, Inc.; Peter and Paula Lunder; William and Christine Ragland in memory of William McKenzie Ragland Lt. JG, U.S. Navy, Pacific Theater, WWII; The Kurin Family in honor of WWII Veteran Saul Kurin, Paul and Corine Wegener, and Judy and Bob Huret.
Restrictions:
This collection is temporarily closed to researchers due to archival processing and digitization. For more information, please contact Reference Services.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
An interview of Daniel Varney Thompson conducted 1974 September 25-1976 November 2, by Robert F. Brown, for the Archives of American Art.
Thompson speaks of authenticating a painting by Leonardo Da Vinci; teaching at Harvard University with Edward Waldo Forbes; his 1923-1925 expedition to India and China with Langdon Warner and Fogg Art Museum personnel to study cave paintings; setting up the art history department at Yale with Everett Meeks and teaching tempera painting; his studies in Europe and work at the Courtauld Institute in London; and translating manuscripts dealing with medieval painting techniques and media. He recalls Bernard Berenson and William Mills Ivins.
Biographical / Historical:
Daniel V. Thompson (1902-1980) was an art historian, conservator, professor, and chemist engineer. Thompson studied techniques of medieval and Renaissance painting. He was a professor at the Courtald Institute, London, 1938-1947.
General:
Originally recorded on 4 sound tape reels. Reformatted in 2010 as 7 digital wav files. Duration is 6 hr., 55 min.
Provenance:
This interview is part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Restrictions:
Transcript is available on the Archives of American Art's website.
Bernard Berenson. Bernard Berenson letter to William Mills Ivins, 1947 Mar. 11. William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
William Mills Ivins. Notebook of William Mills Ivins, 1927-1928. William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Germany (Territory under Allied occupation, 1945-1955)
Date:
1905-1983
bulk 1920-1976
Summary:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Scope and Contents:
The papers of art historian and museum curator W.G. (William George) Constable measure 25.7 linear feet and date from 1905 to 1981, with the bulk of the material from 1920 to 1976. The papers include biographical material; professional and personal correspondence; extensive lectures, writings, and notes; exhibition and book research files; printed materials; and photographs, glass plate negatives, and slides. There is substantive correspondence related to Constable's participation in the American Defense Harvard Group and about the formation of the Roberts Commission, including correspondence with Ralph Perry, Hugh Hencken, Paul Sachs and George L. Stout. There are numerous official reports prepared by Constable after World War II for the U. S. Office of Military Government for Germany.
Biographical material includes W.G. Constable's curriculum vitae; club memberships; personal, educational, and military records; three memorial essays and obituaries; five address books; appointment books dating from 1930-1968; and financial records related to personal business travels.
Correspondence is mostly professional and arranged into General, Committee, Condolences, and J.G. Links. General correspondence is with friends, business associates, auction houses, galleries, and museums. The letters cover a wide variety of professional work, such as research projects, letters of inquiry and recommendation, and work done for Christie's and the Internal Revenue Service. Correspondents include Mortimer Brandt, Helen Frick, Helen Gluck, William Ivins, Duncan Phillips, Paul Sachs, and Rudolph Vasalle, among many others.
Committee related correspondence includes letters, memoranda, and reports related to ongoing committee objectives, projects, and routine activities. There is correspondence related to Constable's advisory work with the Art Gallery of Toronto, the National Gallery of Canada, and the Watts Gallery, among other projects. Condolences consists of letters and cards received by Constable's wife, Olivia, after Constable's death. Correspondence with J.G. Links is primarily about the second edition revision of Constable's book Canaletto.
There are over 170 drafts of Constable's notes and outlines for lectures. Topics range from 13th-20th century European and American art to museum conservation, ethics, art education, and art collecting. The series also includes lecture notes from organized touring trips to Canada, Northern Europe, Scandanavia, and Poland.
Writings consist of Constable's published and unpublished articles, articles submitted for the Encyclopedia of World Art, essays, notes, exhibition catalogs, translations, and drafts and research material related to Art Collecting in the United States, Art History and Connoisseurship, and The Painter's Workshop.
Files specifically documenting Constable's advisory role in the World War II American Defense Harvard Group drafting and organizing lists of men with curatorial, museum conservation, or library/archives backgrounds to aid in the protection European most valued cultural artifacts, artwork, and architecture. There are letters documenting the formation of the Harvard Group and its goals and objections. The files also include many of the original lists that were forwarded to the Commission for the Protection and Salvage of Artistic and Historic Monuments in Europe, also known as the Roberts Commission, eventually leading to the formation of the U.S. Army's Monuments, Fine Arts, and Archives division. The series also includes the Harvard Group's manual Safeguarding and Conserving Cultural Materials in the Field, committee minutes, and clippings related to their work. Correspondents include Ralph Perry, Paul Sachs, George L. Stout, and Hugh Hencken.
Constable's work after the war for the U.S. Office of Military Government for Germany is documented through numerous reports, memoranda, letters, and other official documents from the U. S. Army to Constable about surveying the state of German and Italian art institutions after World War II. The series also includes Constable's notebook "Visits in Germany" (1949), and a copy of his report Art and Reorientation: Status and Future of Museums and the Teaching of Art in Western Germany.
Exhibition files contain correspondence, notes, lists, research material, and reports related to exhibitions that Constable organized prior to his employment by and after his retirement from the Boston Museum of Art.
Research files contain materials relevant to Constable's interests and include notes, lists, correspondence, and printed and photographic reference material. These subject areas cover artists, including extensive files on Canaletto and other vedute painters, museum conservation, museums and galleries, private and public art collections, and schools of art.
Printed materials include clippings, programs, book excerpts and other miscellaneous printed materials.
Photographic materials include prints of Constable with friends and family, as well as prints, glass negatives and slides of artwork. There are also prints of the Fogg Art Museum's interiors and exterior and interior shots of Tennessee Valley Authority dam projects.
Arrangement:
The collection is arranged as 10 series.
Missing Title
Series 1: Biographical Materials, 1905-1983 (1.2 linear feet; Box 1-2, OV 28)
Series 2: Correspondence, 1906-1981 (6.2 linear feet; Box 2-8, OV 28-29)
Series 3: Lectures, 1909-1963 (4.6 linear feet; Box 8-12)
Series 4: Writings and Notes, 1910-1974 (2 linear feet; Box 13-14)
Series 5: American Defense Harvard Group, 1942-1946 (0.6 linear feet; Box 15)
Series 6: Office of Military Government for Germany, 1947-1952 (0.3 linear feet; Box 15)
Series 7: Exhibition Files, 1930-1969 (1 linear foot; Box 15-16, OV 29)
Series 8: Research Files, 1922-1976 (7.5 linear feet; Box 16-24, OV 28-29)
Series 9: Printed Material, 1921-1977 (0.5 linear feet; Box 24)
Series 10: Photographic Materials, circa 1940-1960 (1.4 linear feet; Box 24-27, OV 28-29)
Biographical / Historical:
W. G. (William George) Constable (1887-1976) was a museum curator and art historian who worked in England and Boston.
Born in Derby, England, Constable studied for the bar at Cambridge University, but was encouraged to pursue art over law by the Lord Chancellor who told him that law would be too strenuous after a two year convalescence from gassing during World War I. For three years, he studied at the Slade School and the Bartlett School of Architecture. In 1923, he joined the National Gallery of London where he became the Assistant Director in 1929. In 1930, he accepted the first Director's position at the newly formed Courtauld Institute, where he worked to develop one of the first programs on art history. In 1938, Constable became Curator of Paintings at the Boston Museum of Fine Arts and worked there until his retirement in 1957.
Throughout his career as an arts administrator, Constable remained an accomplished lecturer and held appointments as the Slade Professor of Art at Cambridge (1933-1936), Ryerson Lecturer at Yale University (1940), and the Lowell Lecturer at the Lowell Insitute (1958). As a researcher and art historian, he published a steady stream of essays on European and American art connoisseurship, and authored over ten scholarly books, including The Painter's Workshop (1953), Richard Wilson (1953), and Canaletto (1962), the definitive work on the Venetian master.
Constable was a trusted arts advisor and, in this capacity, worked for the Wadsworth Atheneum from 1943-1945.
He also worked closely with Lord Beaverbrook to establish the National Gallery of Canada and later consulted for Sotheby's and the U. S. Internal Revenue Service.
In the years leading to World War II, Constable served as an advisor to the American Defense Harvard Group and was later appointed to the Commission for the Protection of Artistic and Historic Monuments in Europe (the Roberts Commission) by President Roosevelt. The Roberts Commission was responsible for the establishment of the U. S. Army's Monuments, Fine Arts, and Archives section. After the war, Constable served the U.S. government as a member of a commission responsible for the recovery of looted art work and the evaluation of the state of the arts in Germany and Italy.
After his retirement from the Boston Museum, Constable continued to research and write, and also served as president of the International Institute of Conservation (1958-1960) and the Renaissance Society of America (1959-1961). From 1957 to 1966, he worked on behalf of Christie's auction house, where he met with prospective clients and provided preliminary valuations of private art works and collections.
On February 4, 1976, Constable died in Cambridge, Massachusetts from natural causes.
Related Materials:
The Archives also holds additional materials related to W.G. Constable, including an oral history interview with Constable conducted by Robert Brown in 1972-1973, and a photograph and clipping of Constable donated by Eleanor Barton in 1982.
Additional W.G. Constable papers are located at archival materials are also located at St. Johns College in Cambridge,England; the Warburg Institute in London, England; the National Gallery in London, England; and the Society for the Protection of Science and Learning in London, England. Photographs of works art collected by Constable are found at the British Studies Center at Yale University. Records relating to his tenure at the Museum of Fine Arts, Boston are housed there.
Provenance:
The papers of W.G. Constable were donated in multiple gifts from 1978 to 1979 and in 1987 to 1988 by his son Giles Constable. Additional material regarding Constable's research on Canaletto was donated by researcher J.G. Links in 1985.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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.
World War, 1939-1945 -- Art and the war Search this
Citation:
W.G. Constable papers, 1905-1983, bulk 1920-1976. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Digitization of this collection was funded by the Samuel H. Kress Foundation. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers, 1878-1964 (20.5 linear feet) of museum curator, director, and art scholar William Mills Ivins (1881-1961) consist of correspondence, writings, notes, photographs, and Ivins family papers. Ivins was Curator of Prints, 1916-1946, Assistant Director, 1933-1938, and Acting Director, 1938-1940 at the Metropolitan Museum of Art. The collection contains professional and personal correspondence with art historians, art dealers, museum curators, print and book collectors, and artists concerning the history of print making, book design and illustration, print collectors and collecting, exhibitions, and museum administration. Also found are Ivins' published and unpublished writings and lectures, and notes. The collection contains some Ivins' family papers including family correspondence, genealogies, and photographs.
Scope and Content Note:
The papers, 1878-1964 (20.5 linear feet) of museum curator, director, and art scholar William Mills Ivins (1881-1961) consist of personal and professional correspondence, writings, notes, photographs, and Ivins family papers. Ivins was Curator of Prints, 1916-1946, Assistant Director, 1933-1938, and Acting Director, 1938-1940 at the Metropolitan Museum of Art. The collection contains professional and personal correspondence with art historians, art dealers, museum curators, print and book collectors, and artists concerning the history of print making, book design and illustration, print collectors and collecting, exhibitions, and museum administration. Correspondence files appear to be complete, and correspondence is of substantive content. Also found are Ivins' published and unpublished writings and lectures, and notes. Of particular interest are the letters from Bernard Berenson, Paul J. Sachs, and Theodore Sizer, each of whom corresponded with Ivins freqently over extended periods about both personal and professional and matters.
Ivins' family papers include family correspondence, genealogies, and photographs. The papers of Ivin's wife, illustrator Florence Wyman Ivins (1881-1948), and the correspondence of several other relatives, can be found here augmented by family photographs.
Arrangement:
The collection has been arranged into 7 series. The contents and organization are noted in the individual series descriptions.
Missing Title
Series 1: Professional and Personal Papers, circa 1908-1961 (Boxes 1-8; 6.5 linear ft.)
Series 2: Writings, circa 1910-1960 (Boxes 8-12; 4.9 linear ft.)
Series 3: Publications, 1896-1958 (Boxes 13-14; 2.0 linear ft.)
Series 4: Miscellaneous, 1915, undated (Box 15; 1.0 linear ft.)
Series 5: Ivins Family Papers, 1878-1964, undated (Boxes 16-20; 4.5 linear ft.)
Series 6: Photographs, circa 1890-1940 (Boxes 20-21; 1.5 linear ft.)
Series 7: Oversized Material, 1897-1950 (1 OV folder)
Biographical Note:
William Mills Ivins, Jr. (1881-1961), a lawyer, first became interested in collecting prints and illustrated books while an undergraduate at Harvard. He studied the history of printmaking through self-directed reading, by looking at prints in the major European libraries and museums, and tried his hand at many of the printmaking processes. While practicing law, he wrote articles and organized some small exhibitions of prints as early as 1908. In 1916, the Metropolitan Museum of Art appointed its first Curator of Prints to organize a Department of Prints and Drawings and to develop its small existing collection. Upon the recommendation of Paul J. Sachs who was unable to accept the position, Ivins was selected. He held the post until his retirement some thirty years later.
During his tenure as Curator of Prints, Ivins became one of the most highly-respected individuals in the profession. Under Ivins the collection grew in scope, size, and quality; he acquired materials by cultivating potential donors, and through systematic purchase of pieces not likely to come into the collection by bequest. The department's active exhibition schedule included some especially noteworthy shows, such as The Arts of the Book in 1924.
Ivins was knowledgeable and shared information by writing several books on prints and the history of printmaking, and by writing large numbers of articles for the educated layman. His articles often highlighted items in the permanent collection, and frequently appeared in the museum's Bulletin. He was interested in perspective, psychology of perception, aesthetics, mathematics and modern philosophy, and wrote on these topics, as well.
He was an accomplished speaker and was in much demand as a lecturer. Of particular note were his series on Illustrated Books of the Renaissance at the Morgan Library in 1936, and the 1950 Lowell Lectures (subsequently published under the title Prints and Visual Communication).
In addition to his curatorial duties, Ivins served as Assistant Director of the Metropolitan Museum of Art between 1933 and 1938, and was its Acting Director from 1938 until 1940. Francis Henry Taylor was appointed Director in 1940, and Ivins was named to the newly created post of Counselor; failure to attain the directorship was a bitter disappointment, which many attributed to his lack of tact and generally difficult disposition.
Ivins retired in 1946, and continued to write and publish until the mid-1950's. During this period he was awarded an honorary doctorate by Yale University (1946), made an honorary fellow of the Metropolitan Museum of Art (1946), named a fellow of the American Academy of Arts and Sciences (1950), and invited to deliver the annual lectures at the Lowell Institute (1950). He died at the age of eighty in 1961, after several years of declining health.
Ivins' private collection of prints and illustrated books, which he had continued to amass through the 1930's, was partially dispersed during his lifetime through gifts to the Metropolitan Museum and to a number of university and special libraries. The portion remaining in his estate was sold at auction by Parke Bernet between 1962 and 1964.
Missing Title
1881 -- born to William Mills Ivins and Emma Yard Ivins, Flatbush, N.Y.
1897 -- graduation from St. Paul's School, Concord, N.H.
1901 -- graduation from Harvard (A.B.)
1901-1902 -- travelled in Europe with Paul Haviland, and studied economics at University of Munich
1902-1904 -- employed by The World's Work, writing articles on economic and artistic subjects
1907 -- graduation from Columbia School of Law
1907-1916 -- practiced law in New York City: Ivins, Wolff and Houget for New York Public Service Commission, 1907-1908; Strong and Cadwallader, 1908-1909; Cravath, Henderson, and der Gersdorff, 1909-1916
1908 -- arranged first exhibition of prints, Keppel & Co,
1910 -- marriage to Florence Wyman, an illustrator
1916 -- appointed first Curator of Prints, Metropolitan Museum of Art
c. 1927-1935 -- served on editorial board of Metropolitan Museum Studies
1933-1938 -- Assistant Director, Metropolitan Museum of Art
1937 -- Morgan Library Lectures
1938 -- Honorary Curator of Prints and Drawings, Morgan Library
1938-1940 -- Acting Director, Metropolitan Museum of Art (Note: Mr. Ivins continued to act as Curator of Prints during periods when he was assigned other major administrative responsibilities at the museum)
1940 -- Counselor, Metropolitan Museum of Art
1946 -- Honorary Fellow, Metropolitan Museum of Art; retirement from Metropolitan Museum of Art; Honorary Doctorate, Yale University
1950 -- Fellow, American Academy of Arts and Sciences; Lowell Lectures (published in 1953 under the title Prints and Visual Communication)
1961 -- death
1962-1964 -- Ivins Collection of Prints and Illustrated Books sold at auction by Parke Bernet
1977-1983 -- William M. Ivins, Jr. Papers donated to the Archives of American Art by his daughter, Barbara Ivins
Provenance:
The William Mills Ivins, Jr., papers were donated to the Archives of American Art by his daughter, Barbara Ivins, in several installments between 1977 and 1983.
Restrictions:
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
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.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
(about mutual friends; Bernard Berenson see also: Grolier Club Morgan Library)
Collection Restrictions:
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
Use of unmicrofilmed material in the holdings of the Archives of American Art requires an appointment and is limited to the Washington, D.C., facility.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
William Mills Ivins papers, 1878-1964. Archives of American Art, Smithsonian Institution.
