This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Zabriskie Gallery Records, 1905-2011. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
Correspondence, sketchbooks, diaries, writings, printed material, photographs, and scrapbooks.
REEL 1033: Letters, including 2 from George Bellows and 17 from Eugene Speicher.
REELS 1118-1119: Biographical data and certificates; correspondence with many American artists; a European diary, 1909; writings, lectures and notes by and about Rosen; records of his paintings; sketches and sketchbooks; scrapbooks; exhibition catalogs, clippings and art school catalogs; and reproductions of portraits of Rosen.
REEL 1130: Photographs of Rosen as a young man, teaching and working, and with friends. Other photographs include the Carnegie Institute Jury, 1931; Rosen's friends, many of whom are American artists at Woodstock; Seminole Indians and a mural in Florida; and people and houses in Texas.
Photographs of artists include George Bellows, Ernest Blumenschein, Dennis Burlingame, Jo Cantine, John Carroll, Konrad Cramer, Andrew Dasburg, Randall Davey, Buckminster Fuller, Wendell Jones, Yasuo Kuniyoshi, Henri E. Le Sidaner, Jonas Lie, Eugene D. Ludins, Ethel Magafan, Henry Mattson, Henry McFee, Paul Nash, Homer Saint-Gaudens, Judson Smith, Eugene Speicher, John Striebel, and Carl Walters.
Biographical / Historical:
Landscape painter, printmaker, instructor; Woodstock, N.Y. Studied at the National Academy of Design with Chase and DuMond. Associate Member and Academician, National Academy of Design. Painted murals for the United States Post Offices in Beacon and Poughkeepsie, N.Y. and Palm Beach, Fla.
Provenance:
Material on reel 1033 lent for microfilming by Katherine Rosen Warner, Rosen's daughter, 1975. Other material donated by Warner, 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Landscape painters -- New York -- Woodstock Search this
Topic:
Artists -- United States -- Photographs Search this
Landscape painting -- New York (State) Search this
Mural painting and decoration -- 20th century -- Florida -- Palm Beach -- Photographs Search this
Painting, Modern -- 20th century -- New York (State) -- Woodstock Search this
1.6 Linear feet ((partially microfilmed on 4 reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1913-1979
Scope and Contents:
Printed material, correspondence, photographs, a scrapbook, and a journal.
UNMICROFILMED: Ca. 450 letters from Edith to her friends and ca. 50 letters to Edith and Fred from family and friends; clippings and exhibition announcements; address lists; and a short priced list of Edith's paintings.
REEL 75: Letters to Edith and Fred from Louis Eilshemius, Jose Orozco, John Sloan of the Artists and Writers Dinner Club, Holger Cahill of the First Municipal Art Exposition, Edwin Way Teale and professional organizations; clippings about Edith and Fred, particularly Fred's religious paintings, exhibition catalogs and announcements; photographs of Fred; a sketch of Fred by Edith; and a letter from John Kieran, "Why I Want Willkie."
REEL 414: Correspondence, with letters from Anthony Lauck, Isabel Bishop and other friends and art institutions; Fred's journal containing ideas on religion, poems, and observations; a scrapbook, 1913-1946; clippings and articles; a photograph of Edith's portrait of her husband; and an address given by Fred.
REELS 1798 & 1799: Ca. 200 letters from Edith to her friends plus correspondence with Joseph Bates, Jr., Isabel Bishop, John Kieran, Elsie Nagler, and Homer Saint-Gaudens; clippings and exhibition invitations.
Biographical / Historical:
Painters; Massachusetts and Dallas, Tex. Fred Nagler and Edith Kroeger met while studying at the Art Students League in New York. Fred was a painter of religious subjects. Edith was a landscape painter.
Provenance:
Donated by Edith and Fred Nagler, 1968-1979.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Quotes and excerpts must be cited as follows: Oral history interview with Ira Spanierman, 2007 June 6-12. Archives of American Art, Smithsonian Institution.
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Scope and Content Note:
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Biographical material includes genealogical notes, biographical accounts, a baptismal record, marriage license, driver's license, membership cards, an award medal and ribbons, a death certificate, and address books.
Letters are incoming only from friends and colleagues, including Christmas cards from Clifford K. Berryman, Paul Bransom, James Russell Lowe, Rowland Lyon, and Francis Bowes Sayre. There is also a photocopy of a letter from Lou Henry Hoover.
Personal business records include a copy of a patent for Moore's design for an artist's kit, a deed for Moore's father's gallery, priced labels for art work in various media, lists of art work, price lists, records of art work sold, bank account records, miscellaneous receipts, and a ledger concerning Moore's works left in trust after his death.
Notes and writings consist of nine poems by Moore, lists of titles of art work sold, lists of art work by others, and a funeral registry book listing mourners' names. The most notable item in this series is a log book of The Ramblers containing a typescript describing the history of this early 20th century art club.
Art work comprises the most significant series in the collection. It includes 1040 drawings, 43 watercolor sketches, 526 etchings, 187 lithographs, 8 paintings and 5 relief sculptures. Subjects depicted are primarily wildlife and nature, landscapes, seascapes, and scenes of towns and notable buildings primarily in and around Washington, D.C. There are scattered portrait drawings and etchings by Moore of fellow artists Herbert F. Clark, Robert G. Cornett, August H. O. Rolle, and Charles Seaton. There are also 5 bas-relief sculptures.
Twelve scrapbooks contain prints by Moore, letters, printed materials, and photographs of Moore and his artwork. Scrapbook 10 contains a photograph of a Landscape Club banquet at the Cosmos Club.
Printed material consists of clippings, exhibition announcements and catalogs, a prospectus from the Society of Animal Artists, book Animals of American History illustrated by Paul Bransom, miscellaneous booklets and brochures concerning art-related topics, travel brochures for New York State, and reproductions of art works.
Photographs are of Benson Bond Moore, his family, residence, colleagues including members of The Ramblers painting outdoors, and of art work. There are also travel photographs of locations in the United States.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Material, 1908-1974 (Box 1; 6 folders)
Series 2: Letters, 1912-1993 (Box 1; 40 folders)
Series 3: Personal Business Records, 1924-1994 (Box 1-2; 0.7 linear feet)
Series 4: Notes and Writings, 1902-1974 (Box 2; 8 folders)
Series 5: Art Work, 1904-1991 (Box 2-4, 6, OV 8; 2.2 linear feet)
Series 6: Scrapbooks, 1919-1973 (Box 4, 7; 0.9 linear feet)
Series 7: Printed Material, 1916-1995 (Box 5-6, OV 8; 1.0 linear feet)
Series 8: Photographs, 1924-1971 (Box 5-7, OV 8; 0.7 linear feet)
Biographical Note:
Benson Bond Moore (1882-1974) of Washington, D.C. and Sarasota, Florida, was a printmaker, landscape painter, art teacher, and picture restorer.
Benson Bond Moore was born on August 13, 1882 in Washington, D.C., the first child of Caroline and John Benson Moore. From an early age, Moore assisted his father in his picture restoring business. In 1902, he was employed by the Maurice Joyce Photo-Engraving Co., and soon afterwards produced a series of technical drawings for Alexander Graham Bell.
Moore studied at the Corcoran School of Art, and, in 1914, he joined The Ramblers (later the Washington Landscape Club), a group of artists who went on painting and drawing expeditions in the environs of Washington, D.C. Moore taught etching at the private Hill School of Art and was an active member of many regional art associations. He was also a founding member of the Miniature Painters, Sculptors and Gravers Society. Following the death of his wife Florence (Flossie) in the early 1950s, Moore moved to Sarasota, Florida.
Benson Bond Moore died on October 30, 1974 in Sarasota, Florida.
Separated Material:
Printmaking tools, lithographic plates, and a 24 x 30 inch display board exhibiting specimen prints and plates and a pocket barometer were transferred to the National Museum of American History, Department of Information Technology and Society.
Provenance:
The Benson Bond Moore papers were donated by Barbara Nikla and John J. Lyons in 1996, as representatives of the estate of the artist's sister-in-law, Mary Jane Moore. Additional material was donated 1997 from the estate by other relatives, Martha Sigmon and her sister Georgia King.
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:
Landscape painting -- 20th century -- Washington (D.C.) Search this
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.
The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.
Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.
Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.
Missing Title
Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)
Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)
Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)
Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.
Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.
Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.
As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.
The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
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.
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs.
Scope and Content Note:
The papers of modernist painter and activist Harold Weston (1894-1972) date from 1894 to 1978 and measure 24.3 linear feet. The papers focus on Weston's painting career and his involvement with humanitarian and artistic causes. Found are biographical materials, correspondence, personal business records, association and organization records, commission and project files, materials relating to Weston's book Freedom in the Wilds, writings, artwork, printed materials, two scrapbooks, and photographs. The papers document his involvement with the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, the International Association of the Plastic Arts, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council for the Arts, Reconstruction Service Committee, and the YMCA in Baghdad.
Biographical materials include biographical sketches and resumes, including a short biography written by Faith Weston in 1969. There are records from his school years at Exeter Academy and Harvard University that include yearbooks, report cards, scholarship information, Harvard Lampoon materials, and a diploma from Harvard. Also found are materials relating to Faith Weston, membership cards, memorials information, passports and travel papers, and wedding wishes.
Correspondence from Harold Weston dates from his school years up until his death in 1972. In letters to his family, Weston discusses his education; his travel and activities in the Middle East during World War I; the Adirondacks; convalescense in France in the mid-1920s; his immediate family life; and exhibitions. Also found are holiday cards designed and printed by Weston. The majority of correspondence is with his father S. Burns Weston, mother Mary, sister Esther, brother Carl, Faith Weston and the Borton family, children Barbara, Bruce, and Haroldine, and others. Also found are letters between Weston and friend Theodore Sizer and Duncan Phillips of the Phillips Collection in Washington, D.C.
Personal business and financial records relating to Weston's exhibitions include delivery receipts, agreements, hand-drawn gallery plans for exhibitions, lists of exhibitions, framing invoices, legal information, pricelists, records of sales, and lists of works of art. Galleries with which Weston held exhibitions, sold, or lent works of art include Boyer Galleries, Corcoran Gallery, the Gallery in Paoli, Montross Gallery, the Phillips Collection, and Studio House Galleries.
Records relating to Harold Weston's memberships and involvement with professional associations and service organizations are from the Adirondack Trail Improvement Society, the Committee to Defend America, Federation of Modern Painters and Sculptors, Food for Freedom, International Association of the Plastic Arts/International Arts Association, National Countil on the Arts and Government, National Endowment for the Arts, New York State Council on the Arts, Reconstruction Service Committee, and the Young Men's Christian Association, Baghdad. The files include correspondence, financial records, meetings and membership information, notes, organizational history, photographs, printed materials, programs and activities records, speeches, and writings.
Files that document Weston's Building the United Nations and the Treasury Relief Project sponsored "Procurement Building Murals" are found within the Commissions and Project files series. The files include correspondence, financial information, legal documents, photographs of the works of art and research photos, and printed materials. Correspondence of note includes letters written by Lewis Mumford, Duncan Phillips, Eleanor Roosevelt on behalf of Weston's Building of the United Nations and letters from Leonard Carmichael, Secretary of the Smithsonian Institution. Letters from Olin Dows of the Treasury Relief Art Project are within correspondence relating to the "Procurement Building Murals." Also found are preliminary sketches of the murals.
The Freedom in the Wilds series contains materials relating to the book which combined Weston's autobiography with a history of the Adirondack Mountain Reserve. Additional writings and notes are by Harold Weston and others, and include articles, poetry, notes, speech notes and speeches, and lists. Harold Weston's articles include "Persian Caravan Sketches" published in 1921 discussing his travels throughout the Middle East. Other articles are written by Duncan Phillips, Paul Rosenfeld, Barbara Weston, and Faith Weston. Also found are postcards annoted with notes by Harold Weston about his travels.
Artwork inlcudes sketches, etchings, copperplates, and woodcuts. There are copperplates entitled "Shroud" and of the series Building the United Nations for the Harvard Alumni bulletin in 1957; an untitled etching by Weston; sketches including those from Baghdad and watercolor sketches; a woodcut of the 1924 Weston holiday card; and scattered unsigned sketches probably not by Weston.
Printed materials include calendars with notations; clippings; exhibition catalogs and announcements for Weston's exhibitions dating from 1922-1976 and for others; gallery tags or labels for paintings shown in exhibitions; reproductions of illustrations for the Harvard Lampoon and full issues from 1911-1916; materials relating to the Harvard production of Henry IV, for which Weston designed the sets; reproductions of works of art by Weston and by others; school seals; and various art related publications.
There are two scrapbooks compiled by Faith Weston about her husband. The first contains materials relating to Weston's activity with the International Association of the Plastic Arts Conference of 1963, including a letter and photograph of President John F. Kennedy. The second scrapbook dates from 1977 and consists of general clippings relating to Weston's career, dating from 1917 to 1952 with additional materials added by Faith in 1977.
Photographs are of Weston, family members, exhibitions and installations, and works of art by Weston and others. There are also numerous photographs of Weston's travel through the Adirondacks, the Middle East, Europe, and India. Also found are glass plate negatives of works of art painted in France between 1926-1930; scattered glass plate negatives of Baghdad and the Middle East; glass plates belonging to S. Burns Weston of the Adirondacks, circa 1900; and approximately 100 lantern slides of the various Middle Eastern cities and ruins - probably used by Weston to illustrate his talks given in the 1920s.
Arrangement:
The collection is arranged as 11 series. Glass plate negatives are housed separately and closed to researchers:
Missing Title
Series 1: Biographical Information, 1896-1974 (Box 1, 38; 0.4 linear feet)
Series 2: Correspondence, 1894-1975 (Box 1-3, 38; 2.5 linear feet)
Series 3: Personal Business and Financial records, 1912-1977 (Box 4; 0.4 linear feet)
Series 4: Associations and Organizations records, 1916-1972 (Box 4-10, 37-38; 6.5 linear feet)
Series 5: Commissions and Project files, 1935-1965 (Box 10-12, 38, OV 39; 1.4 linear feet)
Series 6: -- Freedom in the Wilds -- records, late 1960s-1976 (Box 12-13; 1.8 linear feet)
Series 7: Writings and Notes, 1912-1975 (Box 13-14; 0.6 linear feet)
Series 8: Artwork and Artifacts, circa 1917-1967 (Box 14, 21; 0.6 linear feet)
Series 9: Printed Material, circa 1900-1978 (Box 15-18, 38; 2.5 linear feet)
Series 10: Scrapbooks, circa 1963-1977 (Box 17-18; 0.5 linear feet)
Series 11: Photographs, circa 1900-1975 (Box 18-20, 22-36, 38; 4.8 linear feet)
Biographical Note:
Modernist painter and federal Treasury Relief Art Project artist Harold Weston (1894-1972) worked primarily in New York City and St. Huberts, New York in the Adirondacks. Weston was president of the U.S. Commission of the International Association of Art/Plastic Arts and the Federation of Modern Painters and Scultors. He was also chairman of the National Council on the Arts and Government and active with various political and humanitarian causes.
Harold Weston was born in 1894 in Merion, Pennsylvania into a privileged family. He attended school in Europe as a teenager, where he began to draw and sketch. In 1910, Harold contracted Polio which left him with a weak leg. After graduating from Exeter Academy, Harold entered Harvard University with the class of 1916 and was active in the Delta Upsilon Club and the Harvard Lampoon, for which he illustrated.
Despite his leg, Weston was determined to serve in some form during World War I. He traveled to Baghdad and volunteered with the YMCA. Here he started the Baghdad Art Club and organized exhibitions of soldier art. He remained in the Middle East until 1919 and served as the official painter for the British Army. The colors and the landscape of the region also inspired later works of art.
Upon returning to the United States, Weston built a one-room cabin in the Adirondack Mountains, where he lived and painted. He had his first one-man exhibtition at the Montross Gallery in 1922. In 1923, he married Faith Borton who moved with him to the Adirondacks. His wife inspired his series of "landscape nudes" which treated the body with different techniques that would typically be used in landscape painting. After suffering from a kidney infection in 1925, Weston and his wife moved to Ceres, France to recover. Weston continued to paint and started a family with Faith while in France. In 1930, the family moved back to the United States and lived in Greenwich Village, New York.
From 1936-1938, Harold Weston worked with the federal Treasury Relief Art Project and painted murals in the Procurement Building in Washington, D.C. The murals represent the growth of public buildings during the Great Depression. He took on a second major project to document the contruction of the United Nations in a series of six paintings. Later, the Smithsonian Instution received the paintings as gifts through an independent committee.
In addition to painting, Harold Weston devoted himself to public service by becoming involved in humanitarian causes, artist professional organizations, and federal government support of the arts. Weston served as president or chairman of three different organizations including the Federation of Modern Painters and Sculptors, the International Association of Art/International Association of the Plastic Art, and the National Council on the Arts and Government. Before the start of World War II, Harold Weston was named the Chairman of Essex County Committee to Defend America, which argued for financial support of the allied forces in World War II. After the start of the war, he helped form the Food for Freedom movement which urged American aid for European and Asian refugees. Similarly, Weston served as Executive Secretary for the Reconstruction Service Committee which was established to assist the rebuilding of Europe.
Later in life, Weston wrote a book Freedom in the Wilds, which combined his own autobiography with a history of the Adirondack Mountain Reserve. Harold Weston died on April 10th, 1972 in New York City.
Separated Material:
The Archives of American Art also holds material lent for microfilming (reel N69-76) including biographic notes, exhibition material, clippings, a presentation album, and commemorative stamps.
Some, but not all, of these papers were included in later donations. Materials not donated remain with the lender and are not described in the collection container inventory.
Syracuse University also holds circa 14 linear feet of Harold Weston's papers.
Provenance:
Harold Weston lent the Archives of American Art materials for microfilming in 1969. Faith Borton Weston, Harold Weston's widow, donated the papers in several increments between 1972-1980 and lent materials for microfilming in 1977.
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:
Painting, Abstract -- New York (State) -- New York Search this
Harold Weston papers, 1894-1978. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
