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Author:

Kuhn, Walt 1877-1949  Search this

Maynard Walker (Gallery : New York, N.Y.)  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

1 folded sheet : ill. ; 21 cm

Type:

Books

Exhibitions

Date:

1954

[1954]

Call number:

ND237.K8 A4 1954

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_832187

Author:

Kuhn, Walt 1877-1949  Search this

Grand Central Art Galleries  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[24] p. : ill. ; 24 cm

Type:

Books

Exhibitions

Date:

1927

C1927

Call number:

ND237.K8 A4 1927

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_646434

Author:

Kuhn, Walt 1877-1949  Search this

Colorado Springs Fine Arts Center  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[20] p. (chiefly illus.) 23 cm

Type:

Books

Exhibitions

Date:

1947

Call number:

ND237.K8 A4 1947

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_645799

Author:

Bouché, Louis 1896-1969  Search this

Hopper, Edward 1882-1967  Search this

Kuhn, Walt 1877-1949  Search this

Kuniyoshi, Yasuo 1889-1953  Search this

Marin, John 1870-1953  Search this

Weber, Max 1881-1961  Search this

Cincinnati Art Museum  Search this

Subject:

Bouché, Louis 1896-1969  Search this

Hopper, Edward 1882-1967  Search this

Kuhn, Walt 1877-1949  Search this

Kuniyoshi, Yasuo 1889-1953  Search this

Marin, John 1870-1953  Search this

Weber, Max 1881-1961  Search this

Physical description:

[32] p. : ill. ; 16 x 25 cm

Type:

Exhibitions

Date:

1948

1948]

20th century

Topic:

Painting, American  Search this

Call number:

ND212 .A4491 1948

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_637697

Author:

Kuhn, Walt 1877-1949  Search this

Getlein, Frank  Search this

Kennedy Galleries  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[75] p. illus. 28 cm

Type:

Books

Exhibitions

Date:

1967

C1967

Call number:

N40.1.K95 K3

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_51751

Author:

Kuhn, Walt 1877-1949  Search this

Marie Harriman Gallery  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[4] p., [12] leaves of plates : ill. ; 24 cm

Type:

Books

Exhibitions

Date:

1930

Call number:

N40.1.K95 M33 1930

N40.1.K95M33 1930

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_433414

Author:

Kuhn, Walt 1877-1949  Search this

Perlman, Bennard B  Search this

Payson, John W  Search this

Midtown Galleries (New York, N.Y.)  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

56 p. : ill. (some col.) ; 28 cm

Type:

Books

Exhibitions

Date:

1989

C1989

Call number:

N40.1.K95 P4 1989

N40.1.K95P4 1989

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_387082

Author:

Kuhn, Walt 1877-1949  Search this

Maynard Walker (Gallery : New York, N.Y.)  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[16] p. : chiefly ill. (2 col.) ; 20 cm

Type:

Books

Exhibitions

Date:

1966

[1966]

Call number:

ND237.K8 A4 1966

N40.1.K95 W182 1966

N40.1.K95W182 1966

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_375294

Author:

Kuhn, Walt 1877-1949  Search this

Salander-O'Reilly Galleries  Search this

Subject:

Kuhn, Walt 1877-1949  Search this

Physical description:

[45] p. : chiefly ill. (some col.) ; 24 x 28 cm

Type:

Books

Exhibitions

Date:

1987

C1987

Call number:

N40.1.K95 S16

N40.1.K95S16

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_343922

Painter:

Kuhn, Walt 1877-1949  Search this

Medium:

Oil on canvas

Type:

Paintings

Date:

1928

Topic:

Performing Arts--Circus--Bareback Rider  Search this

Control number:

IAP 8G190011

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_479037

Creator:

Glackens, Ira, 1907-1990  Search this

Names:

Delaware Art Museum  Search this

Kraushaar Galleries  Search this

National Gallery of Art (U.S.)  Search this

National Portrait Gallery (Smithsonian Institution)  Search this

Williams College. Museum of Art.  Search this

Barnes, Albert C. (Albert Coombs), 1872-1951  Search this

Barnes, Laura L., 1875-1966  Search this

Buckley, Charles E.  Search this

Bullard, E. John(Edgar John), 1942-  Search this

Dimock, Ira  Search this

Fitzgerald, Irene Dimock  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Liff, Vivian  Search this

Luks, George Benjamin, 1867-1933  Search this

Morse, Stearns  Search this

Perlman, Bennard B.  Search this

Prendergast, Eugénie  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Schwab, Arnold T.  Search this

Shinn, Everett, 1876-1953  Search this

Sloan, Helen Farr, 1911-2005  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sound recordings

Writings

Date:

circa 1900-1990

Summary:

The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Scope and Content Note:

The Ira and William Glackens papers, circa 1900-1990, measure 2.3 linear feet. The collection consists primarily of the papers of Ira Glackens relating to the artwork of his father, William Glackens, but also contains scattered correspondence of William and his wife Edith, including letters from Albert Barnes. Ira Glackens' papers include books written by Ira; exhibition catalogs and clippings about William and others; photographs of the Glackens family and friends, of Ira, and of the Glackens residence; and an audio recording of William Glackens' remarks upon accepting an award at the Carnegie International Exhibition in 1936. There are also records of the Sansom Foundation, which was set up by Ira Glackens and his wife Nancy.

Biographical information consists of genealogical research on the Glackens family and a copy of Ira Glackens birth certificate.

Correspondence of the artist William Glackens includes letters to his wife, Edith, written while on a trip to Paris in 1912 to purchase paintings for collector Albert C. Barnes. Barnes' letters to William and Edith Glackens are about paintings in the Barnes Collection, the educational plans of his Foundation, and Glackens' work and exhibitions. Letters to Edith Dimock Glackens are from relatives and friends including her father, Ira Dimock, her sister, Irene Dimock FitzGerald, author James L. Ford, and painter Maurice Prendergast. There is also a copy of a letter concerning the estate of Lenna G. Borton, the Glackens' daughter.

Ira Glackens' correspondence largely concerns exhibitions, sales, loans, donations and the authentication of artwork by William Glackens. Correspondents include museums, galleries and artists, in addition to personal correspondence with family and friends. Names of significant correspondents in Ira Glackens' correspondence include Laura (Mrs. Albert C.) Barnes, Charles Buckley, Delaware Art Museum, Kraushaar Gallery, Walt Kuhn, Vivian Liff, George Luks, Stearns Morse, National Gallery, National Portrait Gallery, Bennard Perlman, Eugenie Prendergast, Arnold T. Schwab, Helen (Mrs. John) Sloan, and Williams College Museum of Art.

Noteworthy writings include speeches, a memoir, and a short play by Ira Glackens, and family recollections of Edith Glackens. A 1936 audio recording is of remarks made by William Glackens upon being presented with an award for his entry in the Carnegie Institute's International Exhibition. Writings by others include essays by John Bullard and Everett Shinn about Glackens.

Printed material includes Ira Glackens' books, catalogs of group and solo exhibitions featuring the work of William Glackens, clippings concerning William Glackens, and reviews of Ira Glackens' books.

Records of the Sansom Foundation, Inc., a non-profit organization founded in 1950 by Ira and Nancy Glackens to oversee their art interests, consist of annual reports, a charitable trust registration form, and financial and tax records.

Photographs are of the Glackens family, travel scenes and artwork by William Glackens, The Eight, and other artists.

A card index of William Glackens' paintings, prepared by Ira Glackens, provides details of artwork in William Glackens' estate.

Arrangement:

The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Information, circa 1900-1990 (Box 1; 2 folders)

Series 2: Correspondence, 1902-1989 (Box 1; 0.7 linear feet)

Series 3: Writings, 1963-1982 (Boxes 1, 3; 0.2 linear feet)

Series 4: Sansom Foundation, Inc., 1957-1973 (Box 2; 0.2 linear feet)

Series 5: Printed Material, 1903-1989 (Boxes 2-3; 0.6 linear feet)

Series 6: Scrapbook, 1956-1980 (Box 3; 0.1 linear feet)

Series 7: Photographs, circa 1900-1986 (Box 2; 0.3 linear feet)

Series 8: Card Index of William Glackens' Paintings, circa 1940-1949 (Box 3; 0.2 linear feet)

Biographical Note:

Ira Dimock Glackens (1907-1990), the first child of painter and illustrator William Glackens and Edith Dimock Glackens, was born in New York City. Raised in the art world, he was well acquainted with his father's friends and colleagues. Upon his father's death in 1938, Ira became responsible for managing and administering the art remaining in William Glackens's estate.

Educated at the Choate School, Ira Glackens became a writer. He published two books about his father: William Glackens and the Ashcan Group: The Emergence of Realism in American Art (1957) and William Glackens and the Eight: The Artists who Freed American Art (1984). An opera expert, Ira Glackens was also the author of Yankee Diva: Lillian Nordica and the Golden Days of Opera (1963) and an authority on apples.

William Glackens (1870-1938) was born in Philadelphia and studied at the Pennsylvania Academy of the Fine Arts with Robert Henri while working as an illustrator for local newspapers, including the Philadelphia Press. In 1895, he departed for a year in Paris and then moved to New York City where he continued to work as an illustrator for various newspapers and periodicals. Before long, Glackens began to focus on scenes of city life and street crowds and, in 1908, he participated in the groundbreaking exhibition of The Eight at the Macbeth Gallery in New York City.

Between 1925 and 1932 William Glackens lived and worked in France and his painting was strongly influenced by Renoir. He spent the remainder of his life in New York City, exhibiting widely from 1894 on. Glackens was named an Associate of the National Academy of Design and was the recipient of several awards including those of the 1901 Pan-American Exposition (gold), the 1904 St. Louis Exposition, the 1915 Pan-Pacific Exposition, the 1933 Society of Independent Artists Exhibition, and the 1936 Carnegie International Exhibition.

Related Materials:

The Archives also holds several collections related to Ira and William Glackens, including the Ira Glackens letters to Jane Wasey; the Illustrations by William Glackens and letter from Ira Glackens; the Lillian E. Travis papers relating to William Glackens and Charles Prendergast; and the Thomas Hart Benton and Ira Glackens letters. Substantial correspondence between William Glackens and the Kraushaar Gallery can also be found in the Kraushaar Galleries records.

Separated Material:

Published books not authored by Glackens family members or related to Glackens' family members were transferred to the Smithsonian's American Art Museum Library in 2007. A few pieces of artwork were given to Williams College, also in 2007.

Provenance:

The Ira and William Glackens papers were donated to the Archives of American Art by Ira Glackens in 1987, and by his estate in 1991. In 2007 a small cache of papers found in the Glackens home was donated by Susan Corn Conway, who had purchased the Glackens' house.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Illustrators -- Pennsylvania -- Philadelphia  Search this

Authors -- Pennsylvania -- Philadelphia  Search this

Painting, American  Search this

Eight (Group of American artists)  Search this

Art -- Collectors and collecting  Search this

Painting, Modern -- 20th century -- United States  Search this

Painters -- Pennsylvania -- Philadelphia  Search this

Genre/Form:

Photographs

Sound recordings

Writings

Citation:

Ira and William Glackens papers, circa 1900-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the digitization of this collection was provided by the Sansom Foundation.

Identifier:

AAA.glacwill

See more items in:

Ira and William Glackens papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e2ec9396-dfbc-41e7-b16b-b26aab79ef34

EDAN-URL:

ead_collection:sova-aaa-glacwill

Creator:

Kennedy Galleries  Search this

Names:

Fleischman, Martha  Search this

Kuhn, Walt, 1877-1949  Search this

Extent:

1.28 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1864-circa 1983

Summary:

The Kennedy Galleries Miscellaneous Records date from 1864 - circa 1983 and measure 1.28 linear feet. These scattered records were compiled by gallery owner Martha Fleischman and relate to art collections and artists historically represented by or associated with the gallery. The collection includes a few letters, one essay, reports, ledger pages, a certificate, printed materials, and photographs of artists and artwork, particularly artwork by Walt Kuhn.

Scope and Contents:

The Kennedy Galleries Miscellaneous Records date from 1864 - circa 1983 and measure 1.28 linear feet. These scattered records were compiled by gallery owner Martha Fleischman and relate to art collections and artists historically represented by or associated with the gallery. The collection includes a few letters, one essay, reports, ledger pages, a certificate, printed materials, and photographs of artists and artwork, particularly artwork by Walt Kuhn.

Arrangement:

The collection is arranged into one series.

Missing Title

Series 1: Kennedy Galleries Miscellaneous Records, 1864-circa 1980 (1.1 linear feet; Box 1, OV 2)

Biographical / Historical:

Established in 1874 by Hermann Wunderlich as H. Wunderlich & Co. in Manhattan, Kennedy Galleries has a long history of dealing American art. When Wunderlich died in 1892, Edward G. Kennedy took over the gallery and changed the name in 1912 to Kennedy & Co. Kennedy was the first U.S. dealer to exhibit the etchings and paintings of James McNeill Whistler, and he compiled a 1910 catalogue raisonné of the artist's work. Kennedy retired in 1916, and Herman Wunderlich (Jr.) became senior partner.

Lawrence A. Fleischman, joined the gallery in 1966 as a partner with the late Rudolf G. Wunderlich. In the course of more than a century in business, the gallery has promoted work by artists the likes of Albert Bierstadt, William Merritt Chase, Frederic E. Church, John Singleton Copley, Thomas Eakins, Winslow Homer, Walt Kuhn, Georgia O'Keeffe and Ben Shahn, among others. Under Lawrence A. Fleischman, the gallery served as adviser to the Vatican Museum, Rome in the early 1970s assisting in the selection and acquisition of modern art. Lawrence Fleischman was also the founder of the Archives of American Art, now a part of the Smithsonian Institution. He also served on the White House Committee for the Fine Arts during the administrations of Presidents John F. Kennedy and Lyndon B. Johnson.

In 1966, the gallery moved to East 56th street; and in 1974 moved again to a newly constructed gallery on West 57th Street. In 2005, the gallery became a private dealership under the direction of Martha Fleischman, Lawrence A. Fleischman's daughter.

Related Materials:

Also found at the Archives of American Art are the Lawrence and Barbara Fleischman Papers, 1837-1984, bulk 1935-1979; an interview of Lawrence A. Fleischman conducted in 1970, Feb. 28-Mar. 9, by Paul Cummings, for the Archives of American Art; an interview of Lawrence A. Fleischman conducted 1994 Apr. 18, by Gail Stavitsky, for the Archives of American Art; and an interview of Barbara Fleischman (Lawrence Fleischman's wife) conducted 2011 Dec. 27 and 2012 Jan. 5, 20, and 23 by Avis Berman for the Archives of American Art.

Provenance:

These records were donated to the Archives in 2005 and 2006 by Martha Fleischman, director of the Kennedy Galleries, who compiled these miscellaneous items from the Kennedy Galleries' storage.

Restrictions:

Use of original papers requires an appointment and is limited to the 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.

Function:

Art galleries, Commercial -- New York (State)

Citation:

Kennedy Galleries miscellaneous records, 1864-1983, bulk 1900-1948. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care and Preservation Fund. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.fleimart

See more items in:

Kennedy Galleries Miscellaneous records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw947bf7dc8-2c24-44fd-a49c-625c16e41538

EDAN-URL:

ead_collection:sova-aaa-fleimart

Creator:

Cushing, Lily Emmet, 1909-1969  Search this

Names:

Maynard Walker Gallery  Search this

Zhonghua fu nu fan gong kang E lian he hui  Search this

Bernstein, Henri  Search this

Chiang, May-ling Soong, 1897-2003  Search this

Frankfurter, Alfred M.  Search this

Graham, Katharine, 1917-  Search this

Kefauver, Nancy, 1912-1967  Search this

Kuhn, Walt, 1877-1949  Search this

Onassis, Jacqueline Kennedy, 1929-1994  Search this

Extent:

4 Linear feet

Type:

Collection descriptions

Archival materials

Postcards

Notebooks

Photographs

Typescripts

Paintings

Date:

1929-1972

Summary:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Scope and Content Note:

The papers of painter Lily Emmet Cushing date from 1929 to 1972 and measure 4.0 linear feet. Found within the papers are biographical material; letters from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn; personal business records including financial material concerning the Maynard Walker Gallery; notes and writings; art work; printed material; and photographs.

Biographical material consists primarily of address books and lists of addresses, but also includes miscellaneous resumés and a certificate of participation in the Art in the Embassies program. signed by Nancy Kefauver.

Scattered letters received by Cushing are primarily from friends including Henri Bernstein, Alfred M. Frankfurter, Katharine Graham, Nancy Kefauver, and Walt Kuhn. There are also letters concerning the Chinese Women's Anti-Aggression League that benefited the charitable and social welfare organizations of the Chinese Navy.

Personal business records include lists of art work and purchasers, price lists, financial and legal documents, and various receipts, including some for art supplies. Papers concerning the Maynard Walker Gallery include letters discussing sales, invoices, and a ledger listing sales of art work by various artists including Lily Cushing Emmet.

Notes and Writings consist of notebooks containing annotations on miscellaneous topics including household items, painting, plants, and recipes. Miscellaneous notes concern art work, fabric, and furnishings. Typescripts by others concern the genealogy of the Clark family.

Art work consists of a schematic drawing, small oil paintings on masonite, and a commercial printing block of a design by Walt Kuhn.

Printed material consists of clippings, exhibition announcements and catalogs, programs, miscellaneous brochures, picture postcards of scenes in the United States, Europe, and Mexico and of Native Americans.

Photographs are of Cushing, her daughters, her third husband Capt. Alston Boyd, friends and colleagues including Mme. Chiang Kai-Shek, various houses, travel scenes, miscellaneous plants, and of art work. There is also a photograph of Jacqueline Kennedy Onassis.

Arrangement:

The collection is arranged as 7 series:

Missing Title

Series 1: Biographical Material, 1953-1967 (Box 1; 14 folders)

Series 2: Letters, 1929-1972 (Box 1-2, OV 7; 1.4 linear feet)

Series 3: Personal Business Records, 1934-1969 (Box 2-3, 6; 0.8 linear feet)

Series 4: Notes and Writings, 1955-1969 (Box 3; 23 folders)

Series 5: Art Work, circa 1940 (Box 3, 6; 3 folders)

Series 6: Printed Material, 1930-1968 (Box 3, 6; 30 folders)

Series 7: Photographs, 1940-1968 (Box 3-6; 0.8 linear feet)

Biographical Note:

Lily Cushing (1909-1969) of New York City was primarily known as a painter of landscapes and still lifes of flowers.

Lily Cushing was born on January 13, 1909 in New York City, the third child of Ethel Cochrane and artist Howard Gardiner Cushing. She studied painting in the studio of Alexandre Jacovleff in Paris from 1926-1927, and with Walt Kuhn in New York City in 1929. Cushing's first solo exhibition was at the Arden Gallery in New York in 1930.

In 1929, Cushing married George Crawford Clark Jr. in Newport, Rhode Island. Following her divorce from Clark, she married William Temple Emmet, Jr. in 1932. They had two daughters, Alexandra and Lily. Cushing's second marriage also ended in divorce. In 1953, she married naval officer Alston M. Boyd in New York.

Cushing's work is in the collections of the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney Museum of American Art, and in the private collections of Paul Mellon, John Hay Whitney, and Joseph P. Kennedy, among others.

Lily Cushing died on September 21, 1969, in Fishers Island, New York.

Separated Material:

An unrecorded number of exhibition catalogs were removed from the collection and given to the Smithsonian American Art Museum/National Portrait Gallery Art Library in 1977.

Provenance:

The Lily Emmet Cushing papers were donated in 1972 by the artist's daughters Alexandra Emmet Schlesinger and Lily Emmet West.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

Topic:

Landscape painting  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Postcards

Notebooks

Photographs

Typescripts

Paintings

Citation:

Lily Emmet Cushing papers, 1929-1972. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.cushlily

See more items in:

Lily Emmet Cushing papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw96c1d34f2-db7f-4657-8a5b-46b489f7c54e

EDAN-URL:

ead_collection:sova-aaa-cushlily

Creator:

Dreier, Dorothea A., 1870-1923  Search this

Names:

Cooperative Mural Workshop  Search this

Women's Trade Union League of America  Search this

Bartlett, Agnes Willard  Search this

Bartlett, Mary F.  Search this

Bartlett, Maud W.  Search this

Davis, Charles H. (Charles Harold), 1856-1938  Search this

Dreier, Ethyl Eyre Valentine  Search this

Dreier, Katherine Sophie, 1877-1952  Search this

Dreier, Mary E. (Mary Elisabeth), 1875-1963  Search this

Forbes, Rebecca  Search this

Gogh, Elisabeth du Quesne van, 1859-1936  Search this

Kuhn, Walt, 1877-1949  Search this

Mahan, Ellen Kuhn  Search this

Robins, Margaret Dreier  Search this

Robins, Raymond, 1873-1954  Search this

Schetter, Charlotte  Search this

Shirlaw, Walter, 1838-1909  Search this

Extent:

2.6 Linear feet

Type:

Collection descriptions

Archival materials

Pamphlets

Sketchbooks

Photographs

Broadsides

Date:

1881-1941

bulk 1887-1923

Summary:

The papers of artist and art patron Dorothea A. Dreier measure 2.6 linear feet and date from 1881-1941, with the bulk of the material dating from 1887-1923. The papers document the life and work of Dorothea Dreier and also contain the papers of and about members of her immediate family, particularly her sisters, Mary and Katherine Dreier, and Margaret Dreier Robins. Found are correspondence, printed materials, legal and financial records, photographs, and one sketchbook by Dreier.

Scope and Content Note:

The papers of the painter Dorothea A. Dreier measure 2.6 linear feet and date from 1881 to 1941, with the bulk of the materials dating from 1887-1923. These papers document not only her life and work as an artist, but also the activities of her distinguished family in the realms of social reform, women's suffrage, and politics, through correspondence, newspaper clippings, pamphlets, broadsides, exhibition catalogs, publications, photographs, ephemera, a sketchbook, and legal and financial records.

Biographical materials include official documents, childhood writings, notes, ephemera, membership cards, invitations, programs, notes, lists, and legal and financial records.

Measuring 1.2 linear feet, correspondence is the largest and most extensive series and consists of letters from family and close friends as well as business correspondence. Although the letters in this series span from 1881-1925, a large number stem from Dorothea's 1913-1916 stay at Saranac Lake for treatment of her tuberculosis.

Family correspondents consist of members of Dorothea's immediate family as well as more distant relations, including those who resided in her parent's native Germany. Letters from her sisters Mary E. Dreier, and Margaret (Gretchen) Dreier Robins, her sister-in-law Ethyl Eyre Valentine Dreier and brother-in-law Raymond Robins provide some insight into the varied social reform and political movements, such as women's suffrage and the Bull Moose Party, with which they were allied. Additionally both Mary and Margaret were active in the Women's Trade Union League, Margaret having served as the League's president from 1907-1922. Therefore their correspondence is a rich resource for scholars interested in women's history and the history of the Progressive Era in the United States.

Due to their shared interest in the arts, her sister Katherine S. Dreier's letters provide information about her own work as an artist, particularly when she was studying abroad, exhibitions in which she participated or visited, and the Cooperative Mural Workshop, a combination art school and workshop that she ran from 1914-1917 with Walt Kuhn, with substantial financial help from Dorothea.

Additionally through her Brooklyn neighborhood, art classes, and support of numerous social causes, Dorothea had a large circle of friends. Frequent correspondents include the Bartlett sisters, Agnes, Mary, and Maud, Rebecca Forbes, Ellen Kuhn Mahan, and Charlotte Schetter. Notable art world correspondents include Vincent van Gogh's sister Elisabeth du Quesne van Gogh, the American Tonalist landscape painter Charles Harold Davis and Dreier's painting instructor and close friend, the painter Walter Shirlaw.

Printed materials reflect the varied interests and activities of Dorothea Dreier and select members of her immediate family through exhibition announcements, catalogs, including a numbered copy of the The Dorothea A. Dreier Exhibition from the memorial exhibition of her work at the Brooklyn Museum of Art in 1925, newspaper clippings relating to her career, the activities of other members of the Dreier family, art and politics; as well as pamphlets, broadsides, brochures and blank postcards.

Photographs include both studio portraits and informal snapshots of Dorothea and Katherine Dreier; group photographs including Dorothea; travel photographs, many of which appear to have been taken in the Netherlands; and photographs of Teddy Roosevelt giving a speech at a railway station. Artworks include a sketchbook by Dreier, five sketchbooks by friend and teacher, Walter Shirlaw, and an unidentified artist, a pencil drawing by Shirlaw, an engraving by Huquier and an etching by Ernest D. Roth.

Arrangement:

The collection is arranged into 5 series:

Missing Title

Series 1: Biographical Material, 1884-1923 (Box 1; 0.75 linear feet)

Series 2: Correspondence, 1881-1925 (Boxes 1-2; 1.2 linear feet)

Series 3: Printed Material, 1883-1916 (Boxes 2-3; 0.5 linear feet)

Series 4: Photographs, circa 1900-1923 (Box 3; 7 folders)

Series 5: Artwork, circa 1885-1941 (Boxes 3-4; 9 folders)

Biographical Note:

Dorothea A. Dreier was born on December 8, 1870, in Brooklyn, New York to German immigrant parents. The second of five children in a close knit, socially progressive family, her siblings include the social reformers and suffragettes Mary E. Dreier and Margaret Dreier Robins. However she was closest to her youngest sister, Katherine S. Dreier, fellow artist, patron of modern art and cofounder of the Société Anonyme, an organization dedicated to the promotion of modern art in the United States. Her sole brother, H. Edward Dreier, followed his father into business and managed the family investments.

Of all the Dreier sisters, Dorothea is the least well-known and there is scant information about her artistic career. It appears that she began her formal art training with John Twachtman and William Merritt Chase, although accounts disagree as to whether it took place at the Art Students League or the National Academy of Design. In 1904 Dorothea and her sister Katherine began studying with the painter Walter Shirlaw, with whom they developed a close friendship. Both sisters also traveled abroad frequently as the family maintained close ties with their German relatives and they combined these visits with trips to museums and galleries throughout Europe where they studied the works of the Old Masters as well as more contemporary artists. As evidenced by her series of oil paintings of Dutch weavers of 1908, Dorothea was greatly influenced by Van Gogh's early paintings of rural Dutch peasant life and she spent long periods abroad living and painting in Laren, The Netherlands. Her later paintings depicted landscapes, both in The Netherlands and the Adirondacks, as well as a series of New York street scenes.

Unfortunately, during a 1913 sojourn in Laren, Dorothea contracted tuberculosis. She remained at Saranac Lake, a renowned treatment center in the Adirondacks from late December 1913 to sometime in 1916. During her convalescence, Dorothea remained actively involved in the arts as she continued to paint and draw and supported her sister Katherine's work at the Cooperative Mural Workshop, a short-lived combination art school and workshop that focused on the decorative arts.

In 1920, Dorothea supported Katherine's decision to champion modern art and made generous financial contributions toward the establishment of the Société Anonyme, where Dorothea's first solo exhibition took place in 1921. This was her only solo exhibition prior to her untimely death in 1923. In the spring of 1925, Christian Brinton of the Brooklyn Museum of Art organized a memorial exhibition for which Katherine Dreier privately published a limited edition catalogue.

Related Material:

The papers of Katherine S. Dreier related to the Société Anonyme Archives are located at the Beinecke Rare Book and Manuscript Library at Yale University.

The Schlesinger Library at the Radcliffe Institute of Harvard University holds the papers of Mary E. Dreier

Provenance:

The bulk of the collection was donated to the Archives of American Art in 1959 by Mrs. Peter Voorhees, Dorothea A. Dreier's neice. Additional materials were donated in 2007 by Theodore and Barbara Dreier, Dreier's great-nephew and great-neice.

Restrictions:

The bulk of this collection has been digitized and is available online via the Archives of American Art's website.

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

Topic:

Women -- Suffrage  Search this

Suffragists  Search this

Women artists  Search this

Women painters  Search this

Genre/Form:

Pamphlets

Sketchbooks

Photographs

Broadsides

Citation:

Dorothea A. Dreier papers, 1881-1941, bulk 1887-1923. 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.dreidoro

See more items in:

Dorothea A. Dreier papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b7ec1d96-1759-46ba-9599-cfd4f33379b6

EDAN-URL:

ead_collection:sova-aaa-dreidoro

Names:

Kuhn, Walt, 1877-1949  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Exhibition catalogs

Date:

1813-1953

bulk 1915-1925

Summary:

Primarily exhibition catalogs for modernist art exhibitions held in New York City during the first two decades of the twentieth century. Also included are catalogs for Boston exhibitions, mainly pre-1900, and a few other locales; exhibition announcements; gallery publications; and other printed material.

Scope and Content Note:

The collection comprises circa 770 items, dating from 1813-1953, the bulk of which are exhibition catalogs from New York City art galleries for the first two decades of the twentieth century, representing exhibitions of mainly modernist art. Catalogs for exhibitions held in Boston (mainly pre-1900) and a few other cities are also present. Included are several rare catalogs, notably one for the "Eight" held at Macbeth Gallery in 1908. Besides catalogs, the collection also contains exhibition announcements, gallery publications, and other printed material. The collection is especially relevant for the study of early American modernism, and is useful in understanding the role of art galleries, exhibitions, the art market, and the exhibition catalog itself, in American art.

Arrangement:

The collection is arranged as 8 series representing alphabetical groups. Catalogs are arranged within these groups according to name of the sponsoring gallery, or if no gallery is listed, by the name of the club or organization. Catalogs are arranged chronologically thereafter, with undated material first. Many catalogs are undated, list only a year, or are annotated with a date. No attempt has been made to date or verify these at this time. Catalogs which are annotated with a date are filed chronologically, and are indicated with brackets around the date.

Missing Title

Series 1: Art Exhibition Catalogs, A-C

Series 2: Art Exhibition Catalogs, D-F

Series 3: Art Exhibition Catalogs, G-I

Series 4: Art Exhibition Catalogs, J-L

Series 5: Art Exhibition Catalogs, M-O

Series 6: Art Exhibition Catalogs, P-R

Series 7: Art Exhibition Catalogs, S-T

Series 8: Art Exhibition Catalogs, U-Z

Historical Note:

In 1979, the American Antiquarian Society donated several hundred exhibition catalogs and art-related printed material to the Archives of American Art (AAA). The Society had received most of them over a long period of time, many of them addressed to the director, Charles Brigham. For several years subsequent to the donation, AAA sporadically added exhibition catalogs to the collection from various sources. Some of these additions are annotated in the hand of Walt Kuhn and are presumed to have been part of his papers in the Archives.

Related Material:

Researchers may find duplicate or related items in galleries' records held at the Archives of American Art. Additional or duplicate catalogs may appear in AAA's Catalog of Exhibition Catalogs (1979).

Provenance:

The bulk of the collection was donated 1979 by the American Antiquarian Society, who presumably assembled them from various sources. Others were received individually, while many are annotated in the hand of Walt Kuhn and are presumed to have originally been part of his papers in the Archives. In 2005, additional catalogs were integrated, some of which are presumed to have been removed from various collections over the years.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Topic:

Art, Modern -- 19th century -- Massachusetts -- Exhibitions  Search this

Art, Modern -- 19th century -- New York (State) -- New York -- Exhibitions  Search this

Art, American -- Exhibitions  Search this

Artists -- United States -- Exhibitions  Search this

Modernism (Art)  Search this

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

Function:

Art galleries, Commercial -- Massachusetts

Art galleries, Commercial -- New York (State)

Genre/Form:

Exhibition catalogs

Citation:

Miscellaneous art exhibition catalog collection, 1813-1953, bulk 1915-1925. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.archamea

See more items in:

Miscellaneous art exhibition catalog collection

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97cda1277-17cc-4295-abe9-729b895e1a28

EDAN-URL:

ead_collection:sova-aaa-archamea

Creator:

Beach, Chester, 1881-1956  Search this

Names:

American Academy in Rome  Search this

Architectural League of New York  Search this

Cleveland Museum of Art  Search this

Ecole nationale supérieure des beaux-arts (France)  Search this

Frontier Art Colony  Search this

Mark Hopkins Institute of Art  Search this

National Academy of Design (U.S.)  Search this

National Sculpture Society (U.S.)  Search this

Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this

Salmagundi Club  Search this

Salon d'automne  Search this

Allen, Mary Jester  Search this

Beach, Eleanor Murdock  Search this

Blumenschein, Ernest Leonard, 1874-1960  Search this

Carrington, Fitz Roy, 1869-1954  Search this

Couper, William, 1853-1942  Search this

Fitchen, Eleanor Beach  Search this

French, Daniel Chester, 1850-1931  Search this

Greacen, Edmund W., 1876-1949  Search this

Hancock, Walker Kirtland, 1901-1998  Search this

Jackson, Hazel Brill  Search this

Jennewein, Carl Paul, 1890-  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Walt, 1877-1949  Search this

Käsebier, Gertrude, 1852-1934  Search this

Leibig, Bonnie  Search this

MacMonnies, Frederick William, 1863-1937  Search this

Mora, F. Luis (Francis Luis), 1874-1940  Search this

Nelson, Laurence, 1887-1978  Search this

Nisbet, Robert H., 1879-1961  Search this

Olmsted, Frederick Law, 1822-1903  Search this

Piexotto, Jessica B.  Search this

Winter, Ezra, 1886-1949  Search this

Extent:

7.32 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Date:

1846-1999

bulk 1895-1999

Summary:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Scope and Contents:

The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.

Arrangement:

The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)

Biographical / Historical:

Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.

Separated Materials:

Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.

Provenance:

Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information. 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.

Topic:

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

Eclecticism in architecture  Search this

Sculpture -- Technique  Search this

Sculpture -- Equipment and supplies  Search this

Artists' studios  Search this

Sculpture -- Economic aspects  Search this

Genre/Form:

Scrapbooks

Sketches

Christmas cards

Drawings

Photographs

Prints

Sketchbooks

Citation:

Chester Beach papers, 1846-1999, bulk circa 1900-1999. 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.beacches

See more items in:

Chester Beach papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw93fbc1322-a3ff-4570-b08a-68b84efe296b

EDAN-URL:

ead_collection:sova-aaa-beacches

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:

100.3 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 100.3 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 100.3 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 2008-2017 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 1965-1989, 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, 101-111, BV100; 46.8 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. Katherine Degn of Kraushaar Galleries donated an additional 8.4 linear feet in 2012-2017.

Restrictions:

Use of originals requires an appointment. 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:

Blumenschein, Ernest Leonard, 1874-1960  Search this

Names:

Committee on Public Information  Search this

National Academy of Design (U.S.)  Search this

Salmagundi Club  Search this

Taos Society of Artists  Search this

Blumenschein, Helen G. (Helen Greene)  Search this

Blumenschein, Mary Greene  Search this

Gilbert, Cass, 1859-1934  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Meem, John Gaw, 1894-1983  Search this

Sharp, Joseph Henry, 1859-1953  Search this

Tarkington, Booth, 1869-1946  Search this

Ufer, Walter, 1876-1936  Search this

Extent:

2.1 Linear feet

Type:

Collection descriptions

Archival materials

Writings

Photographs

Date:

1873-1964

Summary:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Scope and Content Note:

The papers of southwest painter and illustrator Ernest Blumenschein measure 2.1 linear feet and date from 1873-1964. The collection documents Blumenschein's artistic career, his relationship with his wife and daughter, his love of the American southwest, and his involvement in the art community of Taos, New Mexico. Found are biographical materials, personal and professional correspondence, scattered personal business records, writings, a large amount of juvenilia artwork, and photographs of artwork.

Biographical materials include biographical sketches, school notebooks and curriculum vita, family genealogical materials and other family records, certificates, diplomas, and materials commemorating Blumenschein's election to the National Academy of Design. Also found are scattered ephemera items, such as membership cards, tickets, and travel materials.

Correspondence consists primarily of letters between Blumenschein, his wife Mary, and his daughter Helen. These discuss Blumeschein's career, domestic life, financial matters, Helen's schooling, and travel. Blumenschein's activities during World War I are documented by correspondence with the Committee of Public Information, the Salmagundi Club, and with Aide de Camps of army bases. There are a few letters from other artists and writers including William Glackens, Walt Kuhn, Ward Lockwood, Booth Tarkington, and a long letter from Cass Gilbert.

Scattered personal business records consist of a guest list, a list of Blumenschein works in a private collection, a jury duty certificate, and a car payment record.

Writings include personal, critical, and creative writings. There are writings by Blumenschein about the founding of the Taos Society of Artists and the artistic community of Taos and his memoirs about his first trip to Taos. Additional writings include a satirical discussion of modern art, and essays about artists John Gaw Meem, Joseph Henry Sharp, and Walter Ufer, and discussions of select paintings. Blumenschein also wrote of his travels in Paris, Switzerland, and Pittsburgh, as well as about French churches and cemeteries. Creative writings explore the landscape, life and culture of the American southwest.

Artwork consists primarily of fourteen folders of Blumenschein's illustrations for "Tomfoolery," a handwritten and hand drawn magazine that Blumenschein contributed to in high school. His illustrations for "Tomfoolery" include portraits, caricatures, and sequential art. Also found is one folder of small sketches.

Printed materials about Blumenschein include clippings, exhibition announcements, and exhibition catalogs. There are also brochures related to the Taos Art Colony and a 1902 menu for a Salmagundi Club program/dinner Also found here is a 1915 signed menu from a National Academy of Design event signed by Gifford Beal, George Bellows, and Eugene Spiecher among others.

Photographs include two portraits of Blumenschein and a group portrait of National Academy of Design members that includes Blumenschein. There are also photographs of Blumeschein's artwork and installation views of Blumenschein exhibitions.

Arrangement:

The collection is arranged into 7 series:

Missing Title

Series 1: Biographical Materials, 1873-1971 (Boxes 1, OV1; 17 folders)

Series 2: Correspondence, 1891-1970 (Box 1; 0.5 linear feet)

Series 3: Personal Business Records, 1918-1950s (Box 1; 4 folders)

Series 4: Writings, 1880s-1959 (Box 1-2; 0.5 linear feet)

Series 5: Artwork, 1888-1925 (Box 2; 0.25 linear feet)

Series 6: Printed Materials, 1891-1964 (Box 2, OV1; 0.5 linear feet)

Series 7: Photographs, 1880s-1955 (Box 2, OV1; 0.25 linear feet)

Biographical Note:

Ernest Blumenschein was born on May 26th, 1874 in Pittsburgh, Pennsylvania. He moved to Dayton, Ohio at the age of four, the same year his mother died. His father was a professional musician and composer, who chiefly made his living as a conductor of large choruses. During high school he contributed illustrations to "Tomfoolery," a handwritten and hand drawn weekly humor magazine. Besides his artistic talents, Ernest Blumenschein was a skilled violin player, and was awarded a scholarship to the Cincinnati College of Music. In 1892, Blumenschein auditioned for the New York National Conservatory, and was chosen by Anton Dvorak for the role of first violin. With the income from playing violin, Blumenschein attended classes at the Art Students League.

In 1892, Ernest Blumenschein first traveled to Paris to study at the Académie Julian. While in Paris, he met Joseph Henry Sharp who inspired Blumenschein with his stories and sketches of the American southwest, particularly the Taos area. He returned to American in 1896, rented a studio with another Académie Julian student Bert Phillips, and began a successful career as a commercial illustrator working for magazines such as Century, Harper's, Scribner's, and McClure's.

Blumenschein first visited Taos in the fall of 1898 while traveling en route to Mexico on a sketching trip with Phillips. A wheel on the wagon carrying their belongings broke and they took it to the nearest blacksmith in the area, which was in Taos. Upon arriving at Taos, Blumenschein was struck by the "the superb beauty and serenity" of the landscape and was "stirred deeply." The town made a strong impact on both Blumenschein and Phillips, but while Phillips decided to stay, Blumenschein returned to New York for a short while and continued working as an illustrator. The following year Blumenschein decided to concentrate on painting, and re-enrolled at the Académie Julian while supporting himself with his commercial work. In 1903, he met Mary Greene, an American painter living in Paris and they married in 1905, and began sharing a Paris studio. Their daughter and only child, Helen, was born in November of 1909.

While Ernest Blumenschein continued to study in Paris, he also kept working as an illustrator, supporting himself easily. His illustration work was much in demand by American magazines and book publishers. Blumenschein was commissioned to illustrate Jack London's first book, Love of Life, in 1904. He also worked with other famous writers such as Stephen Crane, Willa Cather, and Joseph Conrad.

Upon returning to New York after the birth of their daughter, Ernest and Mary taught at the Pratt Institute. Ernest spent every summer in Taos. In 1919, the family moved permanently to Taos, with Helen returning to New York for school. It was during this time that Blumenschein co-founded the Taos Society of Artists and became part of the Taos art colony. For four decades, Blumenschein created paintings of the landscape, local inhabitants, the Taos Pueblo culture, and city skylines. He won numerous awards for his work and exhibited widely. His work was responsible for changing perceptions about the native culture and peoples of the area - the Navajo and Pueblo Indians. Blumenschein also indulged his love of the outdoors and sports. He avidly camped, played tennis, and was part of the Taos amateur baseball team. His artistic output in the 1950s was hampered by his declining health, and the death of Mary in 1958. Blumenschein died in June of 1960, and his ashes are repositioned at the Taos Pueblo Reservation.

Related Material:

Found in the Archives of American Art is a small collection of "Ernest Blumenschein letters and transcripts", available on microfilm reel 3281, and consisting of eleven letters between Blumenschein and Thomas Gilcrease, a letter between Helen Blumenschein and Gilcrease, and the transcript of a 1958 radio interview with Blumenschein.

Additionally, the Fray Angélico Chávez History Library in Santa Fe, New Mexico holds papers related to Ernest Blumenschein, Mary Greene Blumenschein, and Helen Greene Blumenschein.

Provenance:

The collection was donated to the Archives of American Art by Helen Greene Blumenschein, Ernest Blumenschein's daughter, in 1971.

Restrictions:

Use of the original papers requires an appointment.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

Painters -- New Mexico -- Taos  Search this

Topic:

Illustrators -- New Mexico -- Taos  Search this

Taos School of Art  Search this

Works of art  Search this

Painting -- New Mexico -- Taos  Search this

World War, 1914-1918  Search this

Genre/Form:

Writings

Photographs

Citation:

Ernest Blumenschein papers, 1873-1964. 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.blumerne

See more items in:

Ernest Blumenschein papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9be57a409-a4fd-450c-a1e2-bfe0a6b923aa

EDAN-URL:

ead_collection:sova-aaa-blumerne

Creator:

Kuhn, Walt, 1877-1949  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

International Exhibition of Modern Art  Search this

Kit Kat Club (New York, N.Y.)  Search this

Penguin Club (New York, N.Y.)  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Vera, d. 1961  Search this

Oldfield, Otis, 1890-1969  Search this

Pach, Walter, 1883-1958  Search this

Quinn, John, 1870-1924  Search this

Sheeler, Charles, 1883-1965  Search this

Photographer:

Rainford, Percy  Search this

Weston, Edward, 1886-1958  Search this

Extent:

31 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Scrapbooks

Sound recordings

Date:

1859-1984

bulk 1900-1949

Summary:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

Scope and Contents note:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.

Arrangement:

This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.

Biographical/Historical note:

Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.

Related Archival Materials note:

The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.

Provenance:

The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.

Occupation:

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

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

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

Topic:

New York school of art  Search this

Modernism (Art)  Search this

Function:

Arts organizations -- New York (State)

Genre/Form:

Drawings

Diaries

Scrapbooks

Sound recordings

Citation:

Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.kuhnwalt

See more items in:

Walt Kuhn Family papers and Armory Show records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e

EDAN-URL:

ead_collection:sova-aaa-kuhnwalt

Interviewee:

Walkowitz, Abraham, 1880-1965  Search this

Interviewer:

Cowdrey, Mary Bartlett, 1910-1974  Search this

Lerner, Abram  Search this

Names:

"291" (Gallery)  Search this

Armory Show (1913: New York, N.Y.)  Search this

Society of Independent Artists (New York, N.Y.)  Search this

Bliss, Lizzie P. (Lizzie Plummer), 1864-1931  Search this

Boswell, Peyton, 1904-  Search this

Chase, William Merritt, 1849-1916  Search this

Cox, Kenyon, 1856-1919  Search this

Cézanne, Paul, 1839-1906  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Duncan, Isadora, 1877-1927  Search this

Epstein, Jacob, Sir, 1880-1959  Search this

Hassam, Childe, 1859-1935  Search this

Kuhn, Walt, 1877-1949  Search this

Monet, Claude, 1840-1926  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Pach, Walter, 1883-1958  Search this

Weber, Max, 1881-1961  Search this

Extent:

66 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1958 December 8-22

Scope and Contents:

An interview of Abraham Walkowitz conducted by Abram Lerner and Mary Bartlett Cowdrey for the Archives of American Art.

Walkowitz discusses his childhood and schooling; travelling abroad; influence of Claude Monet exhibit; his book, "Artists of Walkowitz: 100 Portraits"; Paul Cezanne's death; meeting artists in Europe; his 1908 exhibition of modern art at the Julius Haas Gallery, New York; getting Max Weber a show at the Haas Gallery; Steiglitz and his "291" Gallery; the Armory Show, especially the roles of Arthur B. Davies, Walt Kuhn, and Walter Pach; reactions to Nude Descending a Staircase; the Society of Independent Artists; thoughts on criticism of his work; his relationship with the critic Peyton Boswell; the importance in his work of dancer Isadora Duncan; opinions on American art, modern art, art schools, students and patrons; good art versus bad art; and the role of critics. Among others he recalls are Lizzie Bliss, William Merritt Chase, Kenyon Cox, The Eight, Jacob Epstein, Childe Hassam, and Georgia O'Keeffe.

Biographical / Historical:

Abraham Walkowitz (1880-1965) was a painter in New York, New York.

General:

Sound has been lost on tape reels; reels discarded.

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 available on the Archives of American Art website.

Occupation:

Art critics  Search this

Topic:

Art, American  Search this

Art, Modern -- 20th century  Search this

Eight (Group of American artists)  Search this

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

Genre/Form:

Interviews

Sound recordings

Identifier:

AAA.walkow58

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw986f86904-6674-4d01-85b2-1e29fcc0b3a4

EDAN-URL:

ead_collection:sova-aaa-walkow58