Skip to main content Smithsonian Institution

Search Results

Collections Search Center
360 documents - page 1 of 18

Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.
Arrangement:
The collection is arranged into six series:

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Carnegie Institute Museum of Art records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Art museums -- Pennsylvania -- Pittsburgh  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

Charles Lang Freer Papers

Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
131 Linear feet (29 architectural drawings)
Type:
Collection descriptions
Archival materials
Diaries
Financial records
Correspondence
Photographs
Place:
China
Syria
Egypt
India
London (England)
Japan
Boston (Mass.)
Detroit (Mich.)
Washington (D.C.)
Kandy (Sri Lanka)
Sri Lanka
Anuradhapura (Sri Lanka)
Date:
1876-1931
Summary:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs.
Scope Content:
The personal papers of Charles Lang Freer, the industrialist and art collector who founded the Freer Gallery of Art. The papers include correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, financial material, architectural drawings, and photographs.

Correspondence, circa 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; letterpress books contain copies of Freer's outgoing letters, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler's mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer's letters from his associates, and regarding the settlement of his estate.

Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910. Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art.

Correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenollosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Organization of the Papers:
This collection is organized into twelve series.

Series 1: Genealogical and Biographical Data

Series 2: Correspondence

Series 3: Diaries

Series 4: Freer Colleague Materials

Series 5: Art Inventories

Series 6: Financial Materials

Series 7: Exhibition Loan Files

Series 8: Biblical Manuscripts and Gold Treasure Files

Series 9: American School of Archaeology in China

Series 10: Printed Material

Series 11: Outsize Material

Series 12: Photographs
Biographical Note:
1854 February 25 -- Born in Kingston, New York

1873 -- Appointed accountant and paymaster of New York, Kingston and Syracuse Railroad by Frank J. Hecker (1846-1927)

1876 -- Moves to Indiana to work, with Hecker, for the Detroit and Eel River and Illinois Railroad

1880 -- Moves to Detroit, participates in organization of the Peninsular Car Works with Hecker

1883 -- Becomes vice president and secretary of Peninsular Car Company when it succeeds Peninsular Car Works

1883 -- Begins collecting European prints

1884 -- Peninsular Car Company constructs plant on Ferry Avenue

1887 -- Meets Howard Mansfield (1849-1938)

1887 -- Acquires proofs of 26 etchings, Venice, Second Series(1886), by James McNeill Whistler (1834-1903)

1887 -- Purchases a small Japanese fan attributed to Ogata Karin(1658-1715)

1887 -- Buys land on Ferry Avenue

1889 -- Meets Frederick Stuart Church (1826-1900) and Dwight William Tryon (1849-1925) in New York

1890 -- Commissions Wilson Eyre (1858-1944) to design house on Ferry Avenue, Detroit, Michigan

1890 -- On first trip to London, meets James McNeill Whistler(1834-1903)

1892 -- Moves to Ferry Avenue house

1892 -- Tryon and Thomas Wilmer Dewing (1851-1938) undertake decoration of reception rooms

1893 -- Lends American paintings to World's Columbian Exposition in Chicago

1893 -- Purchases first piece of Chinese art, a small painting of white herons by an anonymous Ming dynasty (1368-1644) artist

1894 -- Begins yearlong trip around the world, which includes visit to the Whistlers in Paris and first trip to Asia, stopping in Ceylon (now Sri Lanka), India, China, and Japan

1896 -- Meets Matsuki Bunkyo (1867-1940) in Boston

1899 -- Takes part in consolidation of railroad-car building companies then retires from active business

1900 -- Attends Exposition International Universelle in Paris

1900 -- Buys villa in Capri with Thomas S. Jerome

1901 -- Meets Siegfried Bing (1838-1905) in Paris and Ernest Fenollosa(1853-1908), who visits Freer in Detroit

1902 -- Meets Dikran Kelekian (1868-1951)

1902 -- Spends summer in Britain building Whistler collection

1902 -- Views Whistler's, Harmony in Blue and Gold: The Peacock Room

1904 -- Purchases Whistler's Peacock Room

1904 -- Offers his art collections and funds to build a museum in which to house them to the Smithsonian Institution

1905 -- Smithsonian committee visits Freer in Detroit

1906 -- United States government formally accepts Freer's gift on January 24

1906 -- Freer signs Deed of Gift to Smithsonian Institution on May 5

1907 -- On second tour of Asia, meets Hara Tomitaro 1868-1939) in Yokohama, Japan

1908 -- Takes third trip to Asia, specifically to West Asia to study Rakka ware

1909 -- Tours Europe to study art museums

1909 -- On fourth trip to Asia, attends memorial ceremony for Fenollosa (d.1908 September) at Miidera, Japan, and meets Duanfang (1861-1911) in China

1910 -- On last trip to Asia, visits Longmen Buddhist caves in China

1911 -- Suffers stroke

1912 -- Lends selection of objects for exhibition at Smithsonian Institution

1913 -- Meets Eugene (1875-1957) and Agnes E. (1887-1970) Meyer

1913 -- Commissions Charles Adams Platt (1861-1933) to design museum building in Washington

1914 -- Meets Katharine Nash Rhoades (1885-1965) in Detroit

1915 -- Settles in New York City

1915 -- Site of future Freer Gallery of Art is determined

1916 -- Platt's plans for Freer Gallery are approved by Smithsonian Regents and Commission of Fine Arts and ground is broken in September

1918 -- After falling ill in Detroit, Freer travels to New York for treatment

1918 -- Work on the museum building is delayed by the war

1919 -- Freer appends codicil to will permitting acquisitions of Asian, Egyptian, and Near Eastern (West Asian) art

1919 -- Dies in New York City on 25 September and is buried in Kingston, New York

1919 -- Construction of Freer Gallery completed

1920 -- John Ellerton Lodge (1876-1942) is appointed director of the Freer Gallery

1923 -- Freer Gallery opens to the public on May 9

1930 -- Memorial ceremony for Freer is held at Koetsuji, Kyoto

Charles Lang Freer was an American industrialist who founded the Freer Gallery of Art. He was a well-known collector of Asian art, and strongly supported the synthesis of Eastern art and Western art. One of his most famous acquisitions was James McNeill Whistler's Peacock Room.
Index:
Index to cross-referenced correspondents in the series Charles Lang Freer correspondence

Beal, Junius E. -- See: -- Warring, Joseph Stephens

Black, George M. -- See: -- Saint-Gaudens, Augustus

Board of Education (Kingston, New York) See: Michael, M. J.

Bonner, Campbell See: University of Michigan

Boughton, George H. See: Yardley, F. C.

British Museum See: Binyon, Laurence; Hobson, R. L.

Brown, Harold H. See: Art Association of Indianapolis

Buchner, Evelyn B. See: Knoedler, M., and Company

Buckholder, C. H. See: Art Institute of Chicago

Butler, S. B. See: Unidentified correspondents

Carnegie Institute See: Balken, Edward Duff; Harshe, Robert B.

Carpenter, Newton H. See: Art Institute of Chicago

Caulkins, Horace James See: Pewabic Pottery

Chao, Shih-chin See: Gunn, Chu Su

Chicago & North Western Railway Co. See: Hughett, Marvin

Clark, Charles Upson See: Clark, Arthur B.

Cleveland Museum of Art See: Whiting, Frederic Allen

Columbia University See: Braun, W. A.; Gottheil, Richard; Hirth, Friederich

Commission of Fine Arts See: Moore, Charles

Corcoran Gallery of Art See: Minnigerode, C. Powell

Crocker, Anna B. See: Portland Art Association

Dannenberg, D. E. See: Karlbeck, Orvar

De Menoncal, Beatrice See: Lien, Hui Ch'ing Collection

De Ricci, Seymour See: Ricci, Seymour de

Defnet, William A., Mrs., See: Franke, Ida M.

DeMotte See: Vigouroux, J.

Detroit Institute of Arts See: Detroit Museum of Art

Detroit Publishing Company See: Livingstone, W. A.

Detroit School of Design See: George Hamilton; Stevens, Henry

DeVinne Press See: Peters, Samuel T.; Witherspoon, A. S.

Dyrenforth, P. C. See: Philip, Rosalind Birnie

Eddy, Arthur J. See: Philip, Rosalind Birnie

Eggers, George Williams See: Art Institute of Chicago

Farr, Daniel H. See: Robinson and Farr

Farrand School (Detroit) See: Yendall, Edith

Field Museum of Natural History (Chicago) See: Laufer, Berthold

Flagg, Frederick J. See: Allen, Horace N.

Fogg Art Museum, Harvard University See: Forbes, Edward; Pope, Arthur Upham; Sachs, Paul J.

French, M. R. See: Art Institute of Chicago

Fu, Lan-ya See: Pang, Lai-ch'en

Fujii, Yoshio See: Yoshio, Fujii

Gerrity, Thomas See: Knoedler, M., and Company

Goupil Gallery See: Marchant, William

Gray, William J. See: Barr, Eva

Great Lakes Engineering Works See: Hoyt, H. W.

Grolier Club See: Philip, Rosalind Birnie

Heinemann, W. See: Philip, Rosalind Birnie

Holden, Edward S. See: West Point, U. S. Military Academy

Hudson, J. L. See: Weber, William C.

Hutchins, Harry B. See: University of Michigan

Hutchins, Charles L. See: Art Institute of Chicago

Kelekian, H. G. See: Kelekian, Dikran G.

Kent, H. W. See: Metropolitan Museum of Art

Lee, Kee Son See: Li, Chi-ch'un

Levy, John See: Schneider, A. K.

Library of Congress See: Rice, Richard A.; Wright, Helen

Louvre (Paris, France) See: Midgeon, Gaston

Matsuki, Z. See: Matsuki, Kihachiro

McKim, Mead and White See: White, Stanford

Mills, A. L., Colonel See: Saint-Gaudens, Augustus

Miner, Luella See: Lien, Hui Ch'ing Collection

Minneapolis Institute of Arts See: Breck, Joseph; Van Derlip, John R.

Monif, R. Khan See: Rathbun, Richard

Museum of Fine Arts, Boston See: Lodge, John Ellerton

Naser, Katen & Nahass See: Katen, K.

Nordlinger, Marie, Miss See: Meyer-Riefstahl, Marie

Panama Pacific International Exposition See: Moore, Charles C.; Trask, John E. D.

Peabody Museum See: Morse, Edward Sylvester

Pennsylvania Academy of the Fine Arts See: Trask, John E. D.

Perry, Mary Chase, Miss., See: Pewabic Pottery

Philip, Ronald M. See: Philip, Rosalind Birnie

Pope, G. D. See: Barr, Eva

Reinhart, A. G. See: Gottschalk, E.

Reitz, Sigisbert Chrétien Bosch See: Bosch-Reitz, Sigisbert Chrétien

Rutgers College See: Van Dyke, John C.

Saint-Gaudens, Augusta H. See: Saint-Gaudens, Augustus

Saint-Gaudens, Homer See: Saint-Gaudens, Augustus

Samurai Shokai See: Nomura, Yozo

San Francisco Art Association See: Laurvik, J. Nilsen

Scribner's, Charles, Sons See: Van Dyke, John C.

Shaw, Wilfred B. See: University of Michigan

Shirae, S. Z. See: Yamanaka and Company

Smith College See: Clark, Arthur B.

Smithsonian Institution See: Holmes, William Henry; Rathbun, Richard; Ravenel, Walcott, Charles D.

Society of Arts and Crafts (Detroit) See: Plumb, Helen

Societe des Beaux-Arts See: Reid, Alexander

Stevens, George W. See: Toledo Museum of Art

Stratton, Mary Chase Perry See: Pewabic Pottery

Tanaka, Kichijiro See: Yamanaka and Company

Tuttle, William F. See: Art Institute of Chicago

Union Trust Company (Detroit) See: Philip, Rosalind Birnie

United States Military Academy See: West Point, U. S. Military Academy

University of Chicago See: Zug, George Breed

University of Pennsylvania, Univ. Mus. See: Gordon, George Bryon

Ushikubo, D. J. R. See: Yamanaka and Company

Wallis & Son See: Barr, Eva; Thompson, C. Croal Ward, Clarence See: Oberlin College

Warren, Edward K. See: Philip, Rosalind Birnie

Warring, Stephen See: Warring, Joseph Stephens

Watkin, Williams R. T. See: Philip, Rosalind Birnie

Watson, Margaret, Miss See: Parker, Margaret Watson

Whistler, Anna See: Stanton, Anna Whistler

Whiting, Almon C. See: Toledo Museum of Art

Williams College See: Rice, Richard A

Wright, F. G. See: Orbach and Company

Yatsuhashi, H. See: Yamanaka and Company
Index to cross-referenced correspondence in the series Whistler correspondence

Bell, William See: Unidentified correspondents

Brown, Ernest See: Painter Etchers' Society, Committee

Cowen, John T. See subseries: Charles Lang Freer Correspondence

Ford, Sheridan See: Reid, Alexander

Haden, Francis Seymour See: Painter Etchers' Society, Committee

Haden, Francis Seymour, Lady See: Haden, Deborah Whistler

Leighton, Frederick, Baron See: Campbell, Lady Colin

Moore, Albert See: Reid, Alexander

Morley, Charles See: Pall Mall Gazette

Morris, Harrison S. See: Reid, Alexander

Pennell, Joseph See: Miscellaneous typescripts

Pennsylvania Academy of the Fine Arts See: Reid, Alexander

Prange, F. G. See: Reid, Alexander

Societe des Beaux-Arts See: Reid, Alexander

Society of Portrait Painters See: Reid, Alexander

Stevens Fine Art See: Reid, Alexander

Studd, Arthur See: Miscellaneous typescripts

[Vanderbilt?], George, Mrs. See: George, Mrs.

Whistler, William McNeill, Mrs. See: Whistler, Nellie

Whistler Memorial Committee See: Miscellaneous typescripts
Related Material:
The Archives of American Art microfilmed portions of the Freer papers in 1992. The microfilm is available at the Archives of American Art's Washington D.C. office, the Freer Gallery of Art Library, and through interlibrary loan.
Provenance:
Gift of the estate of Charles Lang Freer.
Restrictions:
Collection is open for research.
Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, American -- Collectors and collecting  Search this
Art, Asian -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Architecture -- Asia  Search this
Genre/Form:
Diaries
Financial records
Correspondence
Photographs
Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01
See more items in:
Charles Lang Freer Papers
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
EDAN-URL:
ead_collection:sova-fsa-a-01
Online Media:

Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1962

Creator:
Carnegie Institute, Museum of Art  Search this
Subject:
East, Alfred, Sir  Search this
Church, Samuel Harden  Search this
Chase, William Merritt  Search this
Homer, Winslow  Search this
Hassam, Childe  Search this
Saint-Gaudens, Homer  Search this
Thayer, Abbott Handerson  Search this
Beatty, John W. (John Wesley)  Search this
Alexander, John White  Search this
Beaux, Cecilia  Search this
Brush, George de Forest  Search this
M. Knoedler & Co.  Search this
Gallery of William Macbeth  Search this
Corcoran Gallery of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Type:
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Topic:
Art -- Economic aspects  Search this
World War, 1914-1918  Search this
Art museums -- Pennsylvania -- Pittsburgh  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Record number:
(DSI-AAA_CollID)7343
(DSI-AAA_SIRISBib)209496
AAA_collcode_carninst
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209496
Online Media:

VTM Co. Letterpress book

Collection Creator:
Clark, George Howard, 1881-1956  Search this
Collection Source:
Electricity and Modern Physics, Division of, NMAH, SI.  Search this
Container:
Box 126, Folder 1
Type:
Archival materials
Date:
1895-1896
Collection Restrictions:
The collection is open for research use.

Gloves must be worn when handling unprotected photographs, negatives, and slides.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George H. Clark Radioana Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
George H. Clark Radioana Collection
George H. Clark Radioana Collection / Series 4: Biographies of Radio Personages, Technical / 4.12: Radio Corporation of America
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0055-ref1161

VTM Co. Letterpress book

Collection Creator:
Clark, George Howard, 1881-1956  Search this
Collection Source:
Electricity and Modern Physics, Division of, NMAH, SI.  Search this
Container:
Box 126, Folder 1
Type:
Archival materials
Date:
1895-1896
Collection Restrictions:
The collection is open for research use.

Gloves must be worn when handling unprotected photographs, negatives, and slides.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George H. Clark Radioana Collection, Archives Center, National Museum of American History, Smithsonian Institution
See more items in:
George H. Clark Radioana Collection
George H. Clark Radioana Collection / Series 5: History of Radio Companies / 5.7: Radio Corporation of America
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0055-ref4344

Letterpress book

Collection Creator:
Morison, George S., 1842-1903  Search this
Extent:
1 Volume
Container:
Box 8, Item 2
Type:
Archival materials
Volumes
Date:
1903 June 18-1903 September 7
1902
Collection Restrictions:
Collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George Morison Collection, Archives Center, National Museum of American History
See more items in:
George S. Morison Collection
George S. Morison Collection / Series 2: Correspondence
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0978-ref578

Letterpress Book

Collection Creator:
Morison, George S., 1842-1903  Search this
Container:
Box 8A, Folder 2
Type:
Archival materials
Date:
1903 January 3-1903 June 15
Collection Restrictions:
Collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George Morison Collection, Archives Center, National Museum of American History
See more items in:
George S. Morison Collection
George S. Morison Collection / Series 2: Correspondence
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0978-ref579

Letterpress Book

Collection Creator:
Morison, George S., 1842-1903  Search this
Extent:
1 Volume
Container:
Box 8A, Folder 1
Type:
Archival materials
Volumes
Date:
1902 January 3-1903 July 28
Collection Restrictions:
Collection is open for research. Gloves must be worn when handling unprotected photographs and negatives.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George Morison Collection, Archives Center, National Museum of American History
See more items in:
George S. Morison Collection
George S. Morison Collection / Series 2: Correspondence
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_component:sova-nmah-ac-0978-ref580

Dennis Miller Bunker collection

Creator:
Bunker, Dennis Miller, 1861-1890  Search this
Names:
Evans, Joseph  Search this
Hardy, Eleanor  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1882-1943
bulk 1882-1890
Summary:
The Dennis Miller Bunker collection of letters, an exhibition catalog, and photographs measures 0.4 linear feet and dates from 1882 to 1943, with the bulk of the material dating from 1882 to 1890. Most of the collection consists of letters to Bunker's friend Joseph Evans (46 letters) in New York City, written between 1882-1889. Four volumes of letterpress books, circa 1889-1890, contain letters to Bunker's fiancée Eleanor Hardy prior to their marriage in the fall of 1890, and his untimely death a few months later. There are also a 1943 exhibition catalog and three photographs of Bunker.
Scope and Content Note:
The Dennis Miller Bunker collection of letters, an exhibition catalog, and a few photographs measures 0.4 linear feet and dates from 1882 to 1943, with the bulk of the material dating from 1882 to 1890. Most of the collection consists of letters. Letters dating from 1882 to 1889 are primarily to Bunker's friend Joseph Evans (46 letters) in New York City and discuss work, projects, his dislike of teaching, mutual interests and friends, and other topics. Four volumes of letterpress books, circa 1889-1890, contain letters to Bunker's fiancée Eleanor Hardy wherein he discusses their plans for the future, his work, his studio, friends, artists, and general news prior to their marriage in October, 1890 and his untimely death a few months later. There is also a 1943 exhibition catalog and three photographs of Bunker.
Arrangement:
Due to the small size of this collection, there is only one series. Items are arranged chronologically within each folder.
Biographical Note:
Painter Dennis Miller Bunker (1861-1890) was born in New York City and from 1878 to 1881 studied at the National Academy of Design and the Art Students League with William Merritt Chase. He traveled to Paris and attended the Ecole des Beaux Art where Jean-Leon Gerome was his teacher, graduating in 1885. He returned to the United States and took at job in Boston teaching at the Cowles Art School. That same year Bunker had his first one-man exhibition at the Noyes & Blakeslee Gallery in Boston. In the winter of 1885-1886 he met and befriended Isabella Stewart Gardner who became a great supporter and patron of his work. A few years later in 1887 Bunker met John Singer Sargent during Sargent's visit to Boston and, in 1888, spent the summer with Sargent at Calcot Mill in England painting plein-air landscapes. That summer was a turning point for Bunker's painting style as he became greatly influenced by impressionism and turned to brighter colors and looser brushwork. He brought this style back with him to Boston and was praised for his new work.

Bunker always felt like an outsider in Boston's society and in the Spring of 1889 resigned his teaching position at Cowles Art School, lived briefly that summer at Medfield, Massachusetts, and then moved back to New York City. Earlier that year he had met Eleanor Heady of Boston and they were married in October 1890. They moved into Sherwood Studios in New York City, but during a visit to Boston that Christmas Bunker fell ill and died at the age of 29.
Related Material:
Also found at the Archives of American Art is the Charles A. Platt letter collection. Platt was the second husband of Dennis Miller Bunker's wife Eleanor Hardy. Included in the collection are a letter from Platt to Bunker, a letter from Bunker to Anne Page, and other related items.
Provenance:
Letters were donated in 1974 by William and Geoffrey Platt, sons of Eleanor Hardy by her second marriage. Printed material and one photograph were donated in 1974 by Frederick D. Hill of Berry-Hill Galleries. Two photographs of Bunker were donated in 1977 by Catherine B. Ramsdell.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Dennis Miller Bunker collection is owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Painting, American -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios  Search this
Genre/Form:
Photographs
Citation:
Dennis Miller Bunker collection, 1882-1943. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bunkdenn
See more items in:
Dennis Miller Bunker collection
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bunkdenn
Online Media:

F. W. Stemmler Letterpress Book

Author:
Stemmler, F. W. (businessman)  Search this
Extent:
0.15 Cubic feet (1 box)
Type:
Collection descriptions
Archival materials
Place:
North Carolina
New York
Date:
1895-1897.
Scope and Contents:
The copies of correspondence (typed and handwritten) concern Stemmler's wide-ranging business affairs, from international banking to personal purchases of horsedrawn carriages.
Biographical / Historical:
F.W. Stemmler lived in New York City and was involved in a wide range of business activities. The collection represents copies of his letters (about 200 are legible). Nothing more is known of his life.
Provenance:
This collection was presumably a part of the Warshaw Collection, which was purchased from Augusta Warshaw, widow of Isadore Warshaw, in 1971.
Restrictions:
The collection is open for research.
Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Business  Search this
Citation:
F.W. Stemmler Letterpress Book, 1895-1897, Archives Center, National Museum of American History.
Identifier:
NMAH.AC.0336
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-0336

Divisional Records

Creator::
United States National Museum. Division of Reptiles and Batrachians  Search this
Extent:
0.58 cu. ft. (1 tall document box)
Type:
Collection descriptions
Archival materials
Letterpress copybooks
Manuscripts
Date:
1868-1926 and undated
Descriptive Entry:
These records include three bound letterpress books and a bound volume containing routine notations concerning procuring supplies and accepting and sending out specimens. The letterpress books also have interleaved single letters and memoranda. Most correspondence is over the signatures of curators Leonhard Stejneger and Doris Mable Cochran, or Richard G. Paine, an Aid in the Division.
Topic:
Museums -- Public relations  Search this
Amphibians  Search this
Reptiles  Search this
Genre/Form:
Letterpress copybooks
Manuscripts
Citation:
Smithsonian Institution Archives, Record Unit 508, United States National Museum, Division of Reptiles and Batrachians, Divisional Records
Identifier:
Record Unit 508
See more items in:
Divisional Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_collection:sova-sia-faru0508

OUTGOING CORRESPONDENCE, 1882-1914.

Collection Creator::
United States National Museum. Division of Fishes  Search this
Type:
Archival materials
Note:
The outgoing correspondence of the Division of Fishes for this period is located in the letterpress books in this series. The books are not indexed unless otherwise noted in the folder listing. A very rough chronological order was maintained, but exceptions to it are frequent. The majority of the letters were written by Tarleton Hoffman Bean and Barton A. Bean in their capacities as curators of fishes at the United States National Museum. A number of letters, however, appear to have been written by T. H. Bean in his capacity as a member of the United States Fish Commission.
Collection Citation:
Smithsonian Institution Archives, Record Unit 213, United States National Museum, Division of Fishes, Records
Identifier:
Record Unit 213, Series 1
See more items in:
Records
Archival Repository:
Smithsonian Institution Archives
EDAN-URL:
ead_component:sova-sia-faru0213-refidd1e228

Charles Lang Freer selected papers

Creator:
Freer, Charles Lang, 1856-1919  Search this
Names:
Freer Gallery of Art  Search this
M. Knoedler & Co.  Search this
Smithsonian Institution  Search this
Yamanaka & Company  Search this
Bacher, Otto H. (Otto Henry), 1856-1909  Search this
Berenson, Bernard, 1865-1959  Search this
Bing, Siegfried, 1838-1905  Search this
Binyon, Laurence, 1869-1943  Search this
Bixby, William K. (William Keeney), 1857-1931  Search this
Bosch-Reitz, Sigisbert Chretien, 1860-  Search this
Caffin, Charles Henry, 1854-1918  Search this
Campbell, Colin, Lady, 1857-1911  Search this
Campbell, Colin, Lord, 1853-1895  Search this
Canfield, Richard A. (Richard Albert), 1855-1914  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Churchill, Alfred Vance, 1864-1949  Search this
Coburn, Alvin Langdon, 1882-1966  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Dow, Arthur W. (Arthur Wesley), 1857-1922  Search this
Fenollosa, Ernest Francisco, 1853-1908  Search this
Gallatin, A. E. (Albert Eugene), 1881-1952  Search this
Gellatly, John, 1853-1931  Search this
Gookin, Frederick William  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Hecker, Frank J. (Frank Joseph), 1846-1927  Search this
James McNeill Whistler, 1834-1903  Search this
Kelekian, Dikran, 1868-1951  Search this
Laufer, Berthold, 1874-1934  Search this
Matsuki, Bunkio, 1867-1940  Search this
McCormick, Frederick, 1870-  Search this
Melchers, Gari, 1860-1932  Search this
Meyer, Agnes Elizabeth Ernst, 1887-1970  Search this
Meyer, Eugene, 1875-1959  Search this
Moore, Charles, 1855-1942  Search this
Nomura, Yozo  Search this
Philip, Rosalind Birnie, 1873-1958  Search this
Platt, Charles A. (Charles Adams), 1861-1933  Search this
Reid, Alexander  Search this
Rhoades, Katharine N., 1885-1965  Search this
Roosevelt, Theodore, 1858-1919  Search this
Saint-Gaudens, Augustus, 1848-1907  Search this
Steichen, Edward, 1879-1973  Search this
Stieglitz, Alfred, 1864-1946  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Tryon, Dwight William, 1849-1925  Search this
Walcott, Charles D. (Charles Doolittle), 1850-1927  Search this
Warring, Joseph Stephens, 1863?-1944  Search this
Way, Thomas R. (Thomas Robert), 1861-1913  Search this
Whistler, Beatrix Philip Godwin, d. 1896  Search this
Wong, K. T.  Search this
Yue, Seaouke  Search this
Extent:
34 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1876-1931
Scope and Contents:
Papers concerning Freer's art collecting activities, including correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs. In addition to Freer's own correspondence, the papers include correspondence collected by Freer of James McNeill Whistler and of Whistler collector Richard A. Canfield, correspondence of Freer's assistant Katharine Nash Rhoades, and correspondence regarding Freer's bequest to the Smithsonian Institution.
Correspondence, ca. 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; 30 v. of letterpress books containing copies of letters sent, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler' mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer letters and regarding the settlement of his estate.
Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910;
Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art;
correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenellosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Among Freer's correspondents are: Otto Bacher, Bernard Berenson, Siegfried Bing, Laurence Binyon, W.K. Bixby, Sigisbert Chretien Bosch-Reitz, Charles H. Caffin, Colin Campbell, Richard Canfield, William Merritt Chase, Frederick Stuart Church, Alfred Vance Churchill, Thomas Wilmer Dewing, Arthur Wesley Dow, Ernest Fenollosa, Albert Gallatin, John Gellatly, Frederick W. Gookin, Sadakichi Hartmann, Frank J. Hecker, Dikran Kelekian, M. Knoedler & Co., Berthold Laufer, Lien Hui Ching Collection, W.A. Livingstone, Frederick McCormick, Bunkio Matsuki, Gari Melchers, Agnes Meyer, Eugene Meyer, Charles Moore, Yozo Nomura, Rosalind Birnie Philip, Charles A. Platt, Theodore Roosevelt, Augustus Saint-Gaudens, the Smithsonian Institution, Joseph Stephens Warring, Thomas Way, Abbott Handerson Thayer, Dwight W. Tryon, Charles Walcott of the Smithsonian Institution, Beatrix Whistler, James McNeill Whistler, K.T. Wong, Yamanaka & Co., and Seaouke Yue.
Arrangement:
All correspondence except letterpress books: arranged alphabetically by correspondent; letterpress books are chonological.
Biographical / Historical:
Art collector; Detroit, Michigan. Collected Asian, American, and European art, including a large collection of works by James McNeill Whistler. Founded the Freer Gallery of Art, which is now part of the Smithsonian Institution.
Provenance:
Selected for microfilming from the Charles Lang Freer papers at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Microfilmed 1992 by the Archives of American Art with funding provided by the Smithsonian Institution's Office of Fellowships and Grants Research Resources Program. Portions of the correspondence and the letterpress books were previously filmed by the Freer in the 1970 (AAA reels 77, 453-456, and 1217-1232); those reels have been replaced by this microfilming project. See Finding Aid for information on papers not selected for microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Asian -- Collectors and collecting  Search this
Art, American -- Collectors and collecting  Search this
Art -- Collectors and collecting  Search this
Identifier:
AAA.freechar
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-freechar

Project of Universal and Perpetual Peace, A

Printer:
Franklin, Benjamin  Search this
Object Name:
Book
Object Type:
Letterpress
Other Terms:
Book; Bookbinding
Associated date:
1922
ID Number:
GA.13475
Catalog number:
13475
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-71b3-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_825842

Free Guide to the City of Mexico

Graphic artist:
A. J. Woods Curio Co.  Search this
Measurements:
overall: 13.3 cm x 8 cm; 5 1/4 in x 3 5/32 in
Object Name:
Book
Other Terms:
Book; Letterpress
Place made:
Mexico: Distrito Federal, Mexico City
Date made:
19th century
ID Number:
1992.0364.022
Catalog number:
1992.0364.022
Accession number:
1992.0364
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-957a-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1120012

The Art of Medal Engraving

Physical Description:
letterpress (overall production method/technique)
Measurements:
overall: 25.5 cm x 20.7 cm; 10 1/16 in x 8 1/8 in
Object Name:
Book
Other Terms:
Book; Letterpress
Date made:
1991
1991
ID Number:
1991.0747.01
Catalog number:
1991.0747.01
Accession number:
1991.0747
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a9-919b-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1099420

American Turf Register and Sporting Magazine

Object Name:
Book
Other Terms:
Book; Letterpress
ID Number:
1986.0639.0212
Accession number:
1986.0639
Catalog number:
86.639.0212
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-379f-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_826499

The Weekly Register

Object Name:
Book
Other Terms:
Book; Letterpress
ID Number:
1986.0639.0213
Accession number:
1986.0639
Catalog number:
86.0639.0213
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-37a0-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_826500

The Gospel Anchor

Object Name:
Book
Other Terms:
Book; Letterpress
ID Number:
1986.0639.0214
Accession number:
1986.0639
Catalog number:
86.639.0214
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-3918-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_826501

The Telescope

Object Name:
Book
Other Terms:
Book; Letterpress
ID Number:
1986.0639.0216
Accession number:
1986.0639
Catalog number:
86.639.0216
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a6-4a61-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_826503

Modify Your Search







or


Narrow By