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Norman Kent papers, 1939-1964

Creator:
Kent, Norman, 1903-1972  Search this
Subject:
Aiken, Charles Avery  Search this
Albee, Grace  Search this
Anderson, Ernfred  Search this
Arms, John Taylor  Search this
Avery, Ralph Hillyer  Search this
Aylward, W. J. (William James)  Search this
Bailey, Merrill A.  Search this
Bailey, Vernon Howe  Search this
Biddle, George  Search this
Bouché, Louis  Search this
Boyd, Fiske  Search this
Bransom, Paul  Search this
Burchfield, Charles Ephraim  Search this
Carter, Clarence Holbrook  Search this
Cheffetz, Asa  Search this
Clark, Eliot Candee  Search this
Cook, Howard Norton  Search this
Cornwell, Dean  Search this
Daugherty, James Henry  Search this
Deines, E. Hubert  Search this
Eichenberg, Fritz  Search this
Fabri, Ralph  Search this
Fawcett, Robert  Search this
Havens, James D.  Search this
Heitland, Wilmot Emerton  Search this
Helck, Peter  Search this
Hoftrup, Julius Lars  Search this
Kappel, Philip  Search this
Kent, Rockwell  Search this
Lankes, Julius J.  Search this
Leighton, Clare  Search this
Mack, Warren Bryan  Search this
Mason, Roy Martell  Search this
Meissner, Leo J. (Leo John)  Search this
Menihan, John C.  Search this
Pitz, Henry Clarence  Search this
Pleissner, Ogden M.  Search this
Reynard, Grant T.  Search this
Rice, William S.  Search this
Rockwell, Norman  Search this
Sandzén, Birger  Search this
Schafer, Alice Pauline  Search this
Sloane, Eric  Search this
Smith, Charles (Charles William)  Search this
Swann, James  Search this
Teague, Donald  Search this
Unwin, Nora Spicer  Search this
Von Neumann, Robert  Search this
Ward, Lynd  Search this
Waters, Herbert  Search this
Watson, Aldren Auld  Search this
Wengenroth, Stow  Search this
Whitaker, Frederic  Search this
Williams, Esther  Search this
Wilson, Edward Arthur  Search this
Citation:
Norman Kent papers, 1939-1964. Archives of American Art, Smithsonian Institution.
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)7688
(DSI-AAA_SIRISBib)209851
AAA_collcode_kentnorm
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209851

Lilly Martin Spencer papers, 1828-1966

Creator:
Spencer, Lilly Martin, 1822-1902  Search this
Subject:
Stanton, Elizabeth Cady  Search this
Ingersoll, Robert Green  Search this
Sartain, John  Search this
Avery, Samuel Putnam  Search this
Sorosis (New York, N.Y.)  Search this
Citation:
Lilly Martin Spencer papers, 1828-1966. Archives of American Art, Smithsonian Institution.
Topic:
Women painters  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6072
(DSI-AAA_SIRISBib)216163
AAA_collcode_spenlill
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216163
Online Media:

Barbara Swan letters to Rosalind and Edwin Miller

Creator:
Swan, Barbara, 1922-  Search this
Names:
Alpha Gallery (Boston, Mass.)  Search this
Chaet, Bernard  Search this
Fink, Aaron, 1955-  Search this
Fink, Alan, 1925-  Search this
Fink, Joanna Elizabeth, 1958-  Search this
Gustin, Dan  Search this
Miller, Edwin Haviland  Search this
Miller, Rosalind S., 1923-  Search this
Milton, Peter, 1930-  Search this
Sexton, Anne  Search this
Stevovich, Andrew, 1948-  Search this
Extent:
0.8 Linear feet ((microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1961-1991
Scope and Contents:
Swan, writing to her friends Rosalind and Edwin Miller, discusses her husband Alan Fink's positions as an art dealer and owner of the Alpha Gallery in Boston, mentioning artists Milton Avery, Gregory Gillespie, Don Gustin, Ellsworth Kelly, Boris Mirski, and Andy Stevovich. She writes also about her son Aaron's art career and daughter Joanna's career as assistant to Alan, her health problems dealing with lupus, family vacations and activities with Swan's mother and aunt, Peter and Edith Milton, and Bernard and Ninion Chaet, her numerous trips to New York and the Museum of Fine Arts, Boston for various art openings; and her friendship with poet Anne Sexton.
Other topics include her painting career, including illustrating Sexton's versions of Grimm's fairytales, portraits of various friends and commissions, exhibitions, painting style, and inspirations for her bottle and quarry reflection paintings.
Biographical / Historical:
Swan, a painter, draftsman, and lithographer from Boston, Mass., was friends of Rosalind Miller, a professor of psychiatric social work at Columbia University, and Edwin Miller, a Walt Whitman scholar and biographer of Herman Melville and Nathaniel Hawthorne. The Millers are collectors of American textiles.
Provenance:
Donated 1992 by Rosalind Miller.
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.
Topic:
Women artists  Search this
Identifier:
AAA.swanbarb
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f0c7652b-e3d4-4f19-b209-4baa81826d0e
EDAN-URL:
ead_collection:sova-aaa-swanbarb

Lawrence Ferlinghetti papers, 1980-2020

Creator:
Ferlinghetti, Lawrence, 1919-2021  Search this
Type:
Drawings
Sketchbooks
Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)22141
AAA_collcode_ferllawr
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_22141

Lawrence Ferlinghetti papers

Creator:
Ferlinghetti, Lawrence  Search this
Extent:
3.1 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Sketchbooks
Date:
1980-2020
Summary:
The Lawrence Ferlinghetti papers measure 3.1 linear feet and date from 1980 to 2020. The papers document Ferlinghetti's career as a poet and artist through exhibition files, inventories, correspondence and other professional files; clippings, exhibition announcements, exhibition catalogs, and other printed material; sketches, sketchbooks, lithographs, and other artwork; and photographs and slides of Ferlinghetti and his artwork.
Scope and Contents:
The Lawrence Ferlinghetti papers measure 3.1 linear feet and date from 1980 to 2020. The papers document Ferlinghetti's career as a poet and artist through exhibition files, inventories, correspondence and other professional files; clippings, exhibition announcements, exhibition catalogs, and other printed material; sketches, sketchbooks, lithographs, and other artwork; and photographs and slides of Ferlinghetti and his artwork.
Arrangement:
The collection is arranged into four series.

Series 1: Professional Files, 1988-2020 (0.9 linear feet; Box 1)

Series 2: Printed Material, 1982-2019 ( 0.7 linear feet; Boxes 1-3, 5)

Series 3: Artwork, 1980-2005 (1.2 linear feet; Boxes 2-5)

Series 4: Photographic Material, 1990-2009 (0.3 linear feet; Box 2)
Biographical / Historical:
Lawrence Ferlinghetti (1919-2021) was a painter, poet, and activist in San Francisco, California. Ferlinghetti was born in Yokers, New York. He studied journalism at the University of North Carolina Chapel Hill, and completed a Ph.D. in comparative literature at the University of Paris. In the 1950s, Ferlinghetti established City Lights, a publishing house in San Francisco. Ferlinghetti was also a poet writing in the vein of T. S. Eliot. Ferlinghetti painted throughout his lifetime and exhibited works throughout the United States. Ferlinghetti died in 2021.
Provenance:
Donated in 2022 by the Lawrence Ferlinghetti Artworks Trust via Joseph Sasser, Trustee.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Occupation:
Painters -- California -- San Francisco  Search this
Poets -- California -- San Francisco  Search this
Genre/Form:
Drawings
Sketchbooks
Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ferllawr
See more items in:
Lawrence Ferlinghetti papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f95c09b7-5492-4405-a46b-68dc5e437c98
EDAN-URL:
ead_collection:sova-aaa-ferllawr

"Paris Transformed" Lithograph

Collection Creator:
Ferlinghetti, Lawrence  Search this
Container:
Box 5, Folder 1
Type:
Archival materials
Date:
1993
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Collection Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence Ferlinghetti papers
Lawrence Ferlinghetti papers / Series 2: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d246fb28-bc3d-479c-a92d-595460861ce9
EDAN-URL:
ead_component:sova-aaa-ferllawr-ref61

Excerpts from Catalogs and Lithographs

Collection Creator:
Ferlinghetti, Lawrence  Search this
Container:
Box 3, Folder 3
Type:
Archival materials
Date:
undated
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Collection Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence Ferlinghetti papers
Lawrence Ferlinghetti papers / Series 2: Printed Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw917c97ecd-fb9c-4c01-a317-6b794f2a51d0
EDAN-URL:
ead_component:sova-aaa-ferllawr-ref70

Lithograph, "Those Who Turn Away"

Collection Creator:
Ferlinghetti, Lawrence  Search this
Container:
Box 3, Folder 8
Type:
Archival materials
Date:
1984
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Collection Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence Ferlinghetti papers
Lawrence Ferlinghetti papers / Series 3: Artwork
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9308307fd-db02-48d4-8366-5b993159c16c
EDAN-URL:
ead_component:sova-aaa-ferllawr-ref75

Lithographs

Collection Creator:
Ferlinghetti, Lawrence  Search this
Container:
Box 3, Folder 9
Type:
Archival materials
Date:
1994-1995
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Collection Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence Ferlinghetti papers
Lawrence Ferlinghetti papers / Series 3: Artwork
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw92087fe28-c2ff-496b-8b73-910618eea6a0
EDAN-URL:
ead_component:sova-aaa-ferllawr-ref76

Lithograph, "Ferlinghetti Scene From the Human Comedy"

Collection Creator:
Ferlinghetti, Lawrence  Search this
Container:
Box 4, Folder 1
Type:
Archival materials
Date:
1996
Collection Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records 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.
The donor has retained all intellectual property rights, including copyright, that they may own in the following material: artwork created by Lawrence Ferlinghetti.
Collection Citation:
Lawrence Ferlinghetti papers, 1980-2020. Archives of American Art, Smithsonian Institution.
See more items in:
Lawrence Ferlinghetti papers
Lawrence Ferlinghetti papers / Series 3: Artwork
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97d866d03-f3dd-45d8-9e14-1d66fb847586
EDAN-URL:
ead_component:sova-aaa-ferllawr-ref84

The Great American Buck Hunt of 1856

Artist:
Nathaniel Currier, 27 Mar 1813 - 20 Nov 1888  Search this
Sitter:
Henry Ward Beecher, 24 Jun 1813 - 8 Mar 1887  Search this
Horace Greeley, 3 Feb 1811 - 29 Nov 1872  Search this
John Charles Frémont, 21 Jan 1813 - 13 Jul 1890  Search this
James Buchanan, 21 Apr 1791 - 1 Jun 1868  Search this
Millard Fillmore, 7 Jan 1800 - 8 Mar 1874  Search this
Medium:
Lithograph on paper
Dimensions:
Image: 22.7 x 38.8cm (8 15/16 x 15 1/4")
Sheet: 34.2 x 45.5cm (13 7/16 x 17 15/16")
Type:
Print
Date:
1856
Topic:
Costume\Headgear\Hat  Search this
Weapon\Gun\Rifle  Search this
Caricature  Search this
Personal Attribute\Facial Hair\Beard  Search this
Architecture\Building\White House  Search this
Nature & Environment\Animal\Deer  Search this
Cartoon\Political  Search this
Horace Greeley: Male  Search this
Horace Greeley: Politics and Government\Presidential candidate  Search this
Horace Greeley: Journalism and Media\Magazine publisher  Search this
Horace Greeley: Journalism and Media\Newspaper publisher  Search this
Horace Greeley: Journalism and Media\Journalist\Reporter\Newspaper  Search this
Horace Greeley: Society and Social Change\Reformer\Abolitionist  Search this
James Buchanan: Male  Search this
James Buchanan: Law and Law Enforcement\Lawyer  Search this
James Buchanan: Politics and Government\Presidential candidate  Search this
James Buchanan: Politics and Government\US Congressman\Pennsylvania  Search this
James Buchanan: Politics and Government\President of US  Search this
James Buchanan: Politics and Government\Cabinet member\Secretary of State  Search this
James Buchanan: Politics and Government\Diplomat\Minister  Search this
James Buchanan: Politics and Government\State Legislator\Pennsylvania  Search this
Millard Fillmore: Male  Search this
Millard Fillmore: Politics and Government\State Legislator\New York  Search this
Millard Fillmore: Law and Law Enforcement\Lawyer  Search this
Millard Fillmore: Politics and Government\Vice-President of US  Search this
Millard Fillmore: Politics and Government\President of US  Search this
Millard Fillmore: Education and Scholarship\Administrator\University administrator\Chancellor  Search this
Millard Fillmore: Politics and Government\US Congressman\New York  Search this
Henry Ward Beecher: Male  Search this
Henry Ward Beecher: Literature\Writer  Search this
Henry Ward Beecher: Religion and Spirituality\Clergy\Pastor  Search this
Henry Ward Beecher: Society and Social Change\Reformer\Abolitionist  Search this
John Charles Frémont: Male  Search this
John Charles Frémont: Politics and Government\Presidential candidate  Search this
John Charles Frémont: Natural Resource Occupations\Explorer  Search this
John Charles Frémont: Military and Intelligence\Army\Officer\Civil War army officer\Union army officer  Search this
John Charles Frémont: Politics and Government\US Senator\California  Search this
John Charles Frémont: Politics and Government\Governor\California  Search this
John Charles Frémont: Military and Intelligence\Army\Officer\Major General  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.86.149
Restrictions & Rights:
CC0
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm421e37e7e-768d-4d4b-9b15-bb530b6dd368
EDAN-URL:
edanmdm:npg_NPG.86.149

Gertrude Vanderbilt Whitney papers

Creator:
Whitney, Gertrude Vanderbilt, 1875-1942  Search this
Names:
American Ambulance Field Hospital (Juilly, France)  Search this
Greenwich House (New York, N.Y.)  Search this
Whitney Museum of American Art  Search this
Whitney Studio Club  Search this
Cushing, Howard Gardiner, 1869-1916  Search this
De Meyer, Adolf, Baron, 1868-1949  Search this
Miller, Flora Whitney  Search this
Strelecki, Jean de, count  Search this
Watson, Forbes, 1880-1960  Search this
Whitney, Harry Payne, 1872-1930  Search this
Extent:
36.1 Linear feet
Type:
Collection descriptions
Archival materials
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Date:
1851-1975
bulk 1888-1942
Summary:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.
Scope and Content Note:
The Gertrude Vanderbilt Whitney papers measure approximately 36.1 linear feet and date from 1851 to 1975, with the bulk of the material dating from 1888 to 1942. The collection documents the life and work of the art patron and sculptor, especially her promotion of American art and artists, her philanthropy and war relief work, her commissions for memorial sculpture, and her creative writing. Papers include correspondence, journals, writings, project files, scrapbooks, photographs, artwork, printed material, two sound recordings, and miscellaneous personal papers.

Material relating to more personal aspects of Whitney's life include school papers, a paper doll book dating from her childhood, financial material, interviews, awards and honorary degrees, address and telephone books, committee files, and other items. Correspondence consists of incoming and outgoing letters concerning both personal and professional matters, including her patronage of the arts and sponsorship of artists, her sculpture commissions and exhibitions, and her war relief work and other philantrophic activities. Also found are family correspondence and correspondence received by the Flora Whitney Miller and the Whitney Museum of American Art after Whitney's death. Journals include personal ones that she kept periodically from the time she was a child to near the end of her life, in which she recorded her travels, her impressions of people, her experiences with friends, and her thoughts on art, among other topics; and social ones, in which she recorded dinners and dances attended, and people invited to different social gatherings, and in which she collected invitations received and accepted.

Scattered files can be found that relate to the Whitney Studio Club and the Whitney Museum of American Art, consisting of notebooks, catalogs, a financial report, and other material. Files relating to Whitney's own sculpture projects are more extensive and consist of correspondence, contracts, printed material, notes, financial material for proposed and completed commissions for fountains, memorials, and monuments. The Whitney Museum of American Art, rather than Whitney herself, seems to have kept these files. Files relating to Whitney's philanthropic activities span from the time just before to just after the First World War and consist of correspondence, minutes, reports, and printed material stemming from her contributions to charities and war relief organizations, her sponsorship of the war hospital in Juilly, France, and her support of the Greenwich House Social Settlement.

Whitney's writings include extensive drafts, and handwritten and typed manuscripts and copies of novels, plays, and stories, as well as some autobiographical and early writings, notes and writings on art, and clippings of published writings, documenting her principle means of creative expression towards the end of her life. Also found are some writings by others. Scrapbooks consist of clippings, photographs, letters and other material, compiled by Whitney, Flora Whitney Miller, and possibly others, documenting Whitney's public life, her sculpture commissions and exhibitions, exhibitions at the Whitney Studio, the war hospital in Juilly, France, the death of Harry Payne Whitney in 1930, and the sickness and death of Whitney in 1942.

Photographs include ones of the Whitney and Vanderbilt families, ones of Gertrude Vanderbilt Whitney (including portraits taken by Baron Adolf de Meyer and Count Jean de Strelecki), ones of various Vanderbilt and Whitney residences and of Whitney's studios, ones of Whitney's sculpture exhibitions as well as exhibitions at her studio, and ones of her sculptures, as well as some miscellaneous and unidentified ones. Artwork consists of sketchbooks and sketches by Whitney (including sketches for sculptures) and artwork by others (including a sketchbook of Howard Cushing's containing a sketch of her and albums of World War I lithographs) collected by Whitney. Also found amongst the collection are printed material (clippings, exhibition catalogs, programs, and publications) and blueprints (including drawings for Whitney's studio on MacDougal Alley and various of her sculptures).
Arrangement:
The Gertrude Vanderbilt Whitney papers are arranged into twelve series:

Missing Title

Series 1: Miscellaneous Personal Papers, 1888-1947, 1975 (Boxes 1-3, 33-34, OV 42; 2.5 linear feet)

Series 2: Correspondence, 1889-1949, 1959 (Boxes 3-9; 6 linear feet)

Series 3: Journals, circa 1886-1939 (Boxes 9-12, 33; 2.5 linear feet)

Series 4: Whitney Studio Club and Whitney Museum of American Art Files, 1921-1943 (Box 12; 0.2 linear feet)

Series 5: Sculpture Files, 1900-1960 (bulk 1909-1942) (Boxes 12-15; 3 linear feet)

Series 6: Philanthropy Files, 1902-1923 (bulk 1915-1920) (Boxes 15-17; 2 linear feet)

Series 7: Writings, 1889-1942, 1974 (Boxes 17-26; 10 linear feet)

Series 8: Scrapbooks, 1893-1942 (Boxes 26-27, 33, 35; 1.5 linear feet)

Series 9: Printed Material, 1859-1942 (Boxes 27-28, 36; 0.8 linear feet)

Series 10: Photographs, 1862-1942 (Boxes 28-32, 36-41, OV 43-51; 6.4 linear feet)

Series 11: Artwork, 1871-1930s (Boxes 32, 41, OV 52-54; 0.8 linear feet)

Series 12: Blueprints, 1913-1945 (OV 55; 0.1 linear feet)
Biographical/Historical note:
New York art patron and sculptor, Gertrude Vanderbilt Whitney (1875-1942), was the eldest daughter of Cornelius Vanderbilt II and Alice Gwynne Vanderbilt, and founder of the Whitney Museum of American Art.

Whitney was born January 9, 1875 in New York City, the. She was educated by private tutors and attended Brearley School in New York. From the time she was a young girl, she kept journals of her travels and impressions of the people she met, and engaged in creative pursuits such as sketching and writing stories. In 1896, she was married to Harry Payne Whitney. They had three children, Flora, Cornelius, and Barbara.

In 1900, Whitney began to study sculpture under Hendrik Christian Anderson, and then under James Fraser. Later, she studied with Andrew O'Connor in Paris. From the time she started studying sculpture, her interest in art grew, as did her particular concern for American art and artists. In 1907, she organized an art exhibition at the Colony Club, which included several contemporary American paintings. She also opened a studio on MacDougal Alley, which became known as the Whitney Studio and was a place where shows and prize competitions were held. (She also had other studios in Westbury, Long Island and Paris, France.) Over the years, her patronage of art included buying work, commissioning it, sponsoring it, exhibiting it, and financially supporting artists in America and abroad. From 1911 on, she was aided in her work by Juliana Force, who started out as Whitney's secretary, was responsible for art exhibitions at the Whitney Studio, and became the first director of the Whitney Museum of American Art.

The first recognition Whitney received for her sculpture came in 1908 when a project on which she had collaborated (with Grosvenor Atterbury and Hugo Ballin) won a prize for best design from the Architectural League of New York. The following year she received a commission to do a fountain sculpture for the Pan-American Building in Washington, D. C. She went on to do numerous other commissioned works over the next several decades, including: a fountain for the New Arlington Hotel in Washington D.C. (the design of which was reproduced in various sizes and materials, one cast being submitted to the 1915 Panama-Pacific International Exposition where it won a bronze medal and a later cast being installed on the campus of McGill University, Montreal, Canada in 1930); the Titanic Memorial (designed in 1913 and erected in 1930); the Buffalo Bill Memorial (1924) in Cody, Wyoming; the Columbus Memorial (1929) in Port of Palos, Spain; the Peter Stuyvesant statue in Stuyvesant Square (1939); and The Spirit of Flight (1939) for the New York World's Fair. In 1916, she had her first one-man show at the Whitney Studio, another at the Newport Art Association, and a retrospective at the San Francisco Art Association Palace of Fine Arts. A traveling exhibition in the Midwest followed in 1918.

During the First World War, Whitney was involved with numerous war relief activities, most notably establishing and supporting a hospital in Juilly, France. She made several trips to France during the war, keeping a journal and eventually publishing a piece on the hospital in several newspapers. Her sculpture during this period was largely focused on war themes. In 1919, she exhibited some of these works at the Whitney Studio in a show called "Impressions of War." In the years after the war, she was also commissioned to do several war memorials, including the Washington Heights War Memorial (1922) and the St. Nazaire Memorial (1926) commemmorating the landing of the American Expeditionary Force in France in 1917.

In 1918, Whitney opened the Whitney Studio Club, which served as pioneering organization for American art, putting on exhibition programs and offering social space and recreational amenities to its members (one point numbering over four hundred artists living in New York). She planned an "Overseas Exhibition" of American art, which traveled to Paris and other European cities in 1920-1921, and had her own shows in Paris and London in 1921. In 1928, the Whitney Studio Club was transformed into an art gallery, known as the Whitney Studio Galleries and directed by Juliana Force, which eventually became the Whitney Museum of American Art in 1931.

Whitney pursued creative writing throughout her life, but beginning in the 1930s writing became her principle means of creative expression. Over the years, she produced numerous manuscripts for stories, novels, and play. One novel, Walking the Dusk, was published in 1932 under the pseudonym L. J. Webb. Beginning in 1940, Whitney took a "Professional Writing" course at Columbia University with Helen Hull, which resulted in the production of numerous short stories. In 1941, she collaborated with Ronald Bodley to adapt one of her stories as a play and attempted to get it produced, although unsuccessfully.

In 1934, Whitney was involved in a custody battle for her niece, Gloria Vanderbilt (daughter of her late brother, Reginald Vanderbilt and his wife, Gloria Morgan Vanderbilt). In an agreement reached by the court, custody was awarded to Whitney and visitation rights to Gloria's mother. Litigation continued in the ensuing years.

In 1935, Whitney established the World's Fair Five Organization, with Juliana Force and four architects, to work on preparing a plan for the site of the 1939 New York World's Fair at Flushing Meadow, although the fair's own Board of Design ended up coming up with its own plan.

Whitney continued her work in sculpture, writing, art patronage, and philanthropy throughout the remaining years of her life. She died on April 18, 1942.
Related Archival Materials note:
Related material found in the Archives includes Research Material on Gertrude Vanderbilt Whitney compiled by Flora Miller Irving and the Whitney Museum of American Art artists' files and records, available on microfilm only (originals are located in the Whitney Museum of American Art). Also found in the Archives of American Art's Miscellaneous Exhibition Catalog Collection are a bundle of Whitney Studio Club and Mrs. H. P. Whitney's Studio catalogs and announcements.
Provenance:
The Gertrude Vanderbilt Whitney papers were donated in 1981 and 1991 by Whitney's granddaughter, Flora Miller Irving.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Sculptors -- New York (State) -- New York  Search this
Philanthropists -- New York (State) -- New York  Search this
Topic:
Art patrons -- New York (State) -- New York  Search this
Women artists  Search this
Women sculptors  Search this
World War, 1914-1918  Search this
Genre/Form:
Lithographs
Photographs
Interviews
Sketchbooks
Diaries
Scrapbooks
Blueprints
Sketches
Citation:
Whitney Museum of American Art, Gertrude Vanderbilt Whitney Papers, 1851-1975 (bulk 1888-1942). Archives of American Art, Smithsonian Institution.
Identifier:
AAA.whitgert
See more items in:
Gertrude Vanderbilt Whitney papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9db113d72-cc31-4974-85fe-3e99c53dd62e
EDAN-URL:
ead_collection:sova-aaa-whitgert
Online Media:

Research material on Reginald Marsh

Creator:
Sasowsky, Norman  Search this
Names:
Whitney Museum of American Art  Search this
Marsh, Reginald, 1898-1954  Search this
Extent:
3.8 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1921-1975
Scope and Contents:
Research material on Reginald Marsh measures 3.8 linear feet and dates from 1921-1975. Included are biographical statements; correspondence with Sylvan Cole, Jr., of Associated American Artists and others regarding Marsh's prints; letters to Marsh from Zayda Weller; photographs and slides of drawings and paintings by Marsh (including state proofs) and a photograph of Felicia Meyer Marsh; notes and typescripts of catalogs; drafts of writngs by Sasowsky; questionnaires; conservation reports for Marsh's paintings; and printed material concerning artist Reginald Marsh, primarily compiled for Sasowsky's catalog raisonnés: Reginald Marsh: Etchings, Engravings, Lithographs (1956), and The Prints of Reginald Marsh: an Essay and Definitive Catalog of his Linoleum Cuts, Etchings, Engravings, and Lithographs, done under the auspices of the Whitney Museum of American Art (1976).
Biographical / Historical:
Norman Sasowsky is an art historian in Newark, Delaware.
Other Title:
Whitney Museum of American Art, Reginal Marsh papers.
Provenance:
Sasowsky donated the photographs on reel 1195 in 1977. In 1979, he lent material on reels 1463-1464 for microfilming and arranged for his research material at the Whitney Museum of American Art to be sent to AAA. In 1998, he donated the material previously lent and additional material and donated a final addition in 2018.
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.
Occupation:
Art historians -- Delaware -- Newark  Search this
Topic:
Social realism  Search this
Prints -- 20th century  Search this
Identifier:
AAA.sasonorm
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw944374e95-3d02-4746-88d4-c1fc3fdcf6d0
EDAN-URL:
ead_collection:sova-aaa-sasonorm

Doris Rosenthal papers, 1932-circa 1971

Creator:
Rosenthal, Doris Patty, 1889-1971  Search this
Citation:
Doris Rosenthal papers, 1932-circa 1971. Archives of American Art, Smithsonian Institution.
Topic:
Women painters  Search this
Women artists  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)8382
(DSI-AAA_SIRISBib)210556
AAA_collcode_rosedori
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210556

André Emmerich Gallery records

Creator:
André Emmerich Gallery  Search this
Names:
Galerie André Emmerich  Search this
Sotheby Parke Bernet & Co.  Search this
Sotheby's (Firm)  Search this
Caro, Anthony, 1924-  Search this
Emmerich, André  Search this
Francis, Sam, 1923-1994  Search this
Frankenthaler, Helen, 1928-2011  Search this
Greenberg, Clement, 1909-1994  Search this
Hockney, David  Search this
Hofmann, Hans, 1880-1966  Search this
Louis, Morris, 1912-1962  Search this
Noland, Kenneth, 1924-2010  Search this
Olitski, Jules, 1922-2007  Search this
Pepper, Beverly  Search this
Extent:
311.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Date:
circa 1929-2009
Summary:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich. A small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Scope and Content Note:
The André Emmerich Gallery records and André Emmerich papers measure 311.4 linear feet and date from 1929 to 2009. The collection documents the business of the André Emmerich Gallery as well as André Emmerich's life and activities related to the business of selling art. Gallery records include correspondence; appointment books; administrative and subject files; exhibition files; artist files and accounts; inventory, sales, purchase, and consignment records; chronological files; financial and legal records; printed materials; original artwork; photographic and audiovisual materials. Also found are personal papers and records relating to André Emmerich.

The records document the gallery's daily business operations, exhibitions, and relationships with artists, dealers, clients, galleries, and museums. Artists particularly well-represented throughout the collection include Anthony Caro, Sam Francis, Helen Frankenthaler, David Hockney, Hans Hofmann, Morris Louis, Kenneth Noland, Jules Olitski, and Beverly Pepper.

Records pre-dating the gallery's establishment in 1954 are primarily newspaper and magazine clippings related to artists, personal photographs and photographs of artists, an original etching, and some of André Emmerich's personal records including biographical materials, correspondence, writings, and legal and financial records. Records post-dating the gallery's closure in 1998 are primarily residual business records related to the final disposition of artwork, clippings, photographs of André Emmerich and gallery staff, biographical materials, personal correspondence, writings, legal and financial records, and condolences received by Emmerich's wife upon his death in 2007.

Correspondence is primarily with galleries, museums and clients about business matters. Correspondence files also cover topics such as appraisals, authentications, offers of sale, artists seeking representation, image requests, job applications and recommendations. Also included are the New York gallery's copies of correspondence between the New York staff and the Zurich staff.

André Emmerich's appointment books document appointments, notes, and reminders about Emmerich's business and personal activities. Four appointment books relating to the birth of Emmerich's three sons and second marriage were kept by the family. The appointment books are access restricted and require written permission to use.

Administrative files include corporate records establishing the Andre Emmerich gallery's structure, records documenting the gallery's daily operations, advertising and publicity material, and records about the Sotheby's acquisition. There are also materials related to Top Gallant Farm, from its establishment to its closure. Travel records relate to André Emmerich's business trips and vacations along with some files on the travels of a several staff members at the gallery. Files about the operations of the Galerie André Emmerich in Zurich, Switzerland are included in the series as well.

Subject files relate to Emmerich's gallery business as well as personal and political interests, such as antiquities, art fairs and exhibitions, lecture research, art associations, and sculpture parks. There are several files on the art critic Clement Greenberg and former president of Gay Men's Health Crisis, Nathan Kolodner, who was also an art dealer and director of the Andre Emmerich Gallery.

Exhibition files contain numerous exhibition catalogs and printed materials related to exhibitions held or organized by the André Emmerich Gallery in Manhattan and Galerie André Emmerich in Zurich. The files contain materials ranging such as exhibition invitations, posters, printed materials, press releases, and guest books. Photographs of exhibitions can be found in the Photographic Materials series.

Artist files include biographical materials, clippings, correspondence, mailing lists, price lists, printed materials, and occasionally lectures, writings, and audiovisual materials for many of the artists represented or shown by André Emmerich Gallery. The General Correspondence files might contain duplicates or expanded versions of some of the correspondence. Photographs of artists can be found in the Photographic Materials series.

Artist accounts comprise account statements prepared periodically by the gallery documenting each artist's expenses and sales. Ledgers and general accounting files can be found in the Other Financial and Legal Records series.

Inventory records include inventory cards describing artwork entering and leaving the gallery and files containing various gallery inventories. Artist inventory cards, representing artists from both the New York and Zurich galleries, list the artist, title, date, media and measurements of an artwork. The cards also indicate whether the work was ultimately sold, returned to the artist, consigned, etc., and divided into categories accordingly. Inventory files show various gallery inventories.

Sales records document gallery sales and include paid invoices, records relating to Zurich sales, general sales records such as price lists and canceled sales, and Sotheby's Parke-Bernet auction reports. There are gaps in sales invoices in 1961-1964 and 1969-1971.

Purchase records include correspondence and invoices related to purchases and offers; annotated invoices for works of art bought by the gallery; André Emmerich, Inc. related purchase records; "Non-Modern" art related purchase records.

Consignment records include correspondence and consignment agreements documenting consignments to and from the André Emmerich Gallery; consignments from other galleries to André Emmerich, Inc.; and general consignment records.

Chronological files include copies of invoices or cover letters documenting the movement of artwork into and out of the gallery through sales, consignments, loans, and approvals. Records dating January through August 1968, January through March 1969, and September 1969 through July 1971 are missing.

Financial and legal records include client and partner account statements, resale and exempt organization certificates, accounting ledgers, and legal files related to disputes involving or of interest to the gallery.

Printed materials include auction catalogs and reports, books, and clippings describing André Emmerich, the galleries in New York and Zurich, Top Gallant Farm, and the art world. Also included is a large scrapbook created by the gallery containing clippings and gallery announcements dated 1955-1958. Clippings relating to particular artists can be found in the Artists Files series.

There are two pieces of original artwork in the collection. One is a 1974 print of a 1933 composite etching by Esther Dick Gottlieb, Adolphe Gottlieb, Edgar Levy, Lucille Corcos Levy, David Smith, and Dorothy Dehner Smith. The second is a 1998 lithograph by Louise Bourgeoise, called The Face of the Critic. The artist gave the lithograph as a gift in honor of Robert Hughes and the Archives of American Art and is numbered 61 out of a series of 300.

Photographic materials include prints, slides, negatives, and transparencies. Subjects include artists, André Emmerich, gallery installations, Top Gallant Farm, events, artists' studios, gallery staff, gallery space, and artwork. Photographs which show André Emmerich are indicated as such in the finding aid.

Audiovisual materials includes videocassettes and one audiocassette related to the art world. Videocassettes related to specific artists can be found in the Artists Files series. Videocassettes related to André Emmerich can be found in the André Emmerich Personal Papers and Records series. Videocassettes related to Top Gallant Farm and Sotheby's can be found in the Administrative Files series.

Personal papers and records relating to André Emmerich include biographical materials, personal correspondence, writings and lectures, and legal and financial records. The biographical materials include an address book, interviews and identifying documents. Writings include articles, edits, dissertations, lectures, etc. There are also some miscellaneous correspondence which is organized chronologically.

The small addition received in 2014 includes general correspondence, administrative files, exhibition files, artists' files, inventory records, consignment records, printed material, photographic materials, and André Emmerich personal papers and records.
Arrangement:
The collection is arranged as 19 series:

Missing Title

Series 1: General Correspondence Files, 1958-2006 (boxes 1-18, OV 314-315; 18.2 linear feet)

Series 2: André Emmerich Appointment Books, 1954-2007 (boxes 19, 325, 326; 1.7 linear feet)

Series 3: Administrative Files, 1954-2003 (boxes 20-31, 306, OV 314, OV 316-319; 11 linear feet)

Series 4: Subject Files, 1958-1967, 1971-2000 (boxes 31-32, 306, OV 318, OV 320; 2 linear feet)

Series 5: Exhibition Files, circa 1954-1998 (boxes 32-40, 306, 307, OV 318-322; 8.5 linear feet)

Series 6: Artists Files, 1929-1932, 1938-2007 (boxes 40-68, 307, 308, OV 320-323; 28 linear feet)

Series 7: Artist Accounts, 1958-1998 (boxes 68-81; 13.5 linear feet)

Series 8: Inventory Records, circa 1954-2000(boxes 82-128; 46.5 linear feet)

Series 9: Sales Records, 1959-1998 (boxes 128-168; 40 linear feet)

Series 10: Purchase Records, 1961-1966, 1972-1994 (boxes 168-170; 2 linear feet)

Series 11: Consignment Records, 1961-2002 (boxes 170-177; 7.7 linear feet)

Series 12: Chronological File of Incoming and Outgoing Artwork, 1968-1998 (boxes 178-185; 8 linear feet)

Series 13: Other Financial and Legal Records, 1956-1999 (boxes 186-202; 16.5 linear feet)

Series 14: Printed Materials, 1955-1960, 1965-2008 (boxes 202-204, 308, 309; 3 linear feet)

Series 15: Original Artwork, 1933, 1974, 1998 (box 205, 310; 0.7 linear feet (2 folders))

Series 16: Photographic Materials, circa 1930-1935, 1941-1998, circa 2005 (Boxes 205-296, 311-313, OV 324; 92.8 linear feet)

Series 17: General Audio and Video Recordings, 1985, 1990-1995 (Boxes 297-298; 1.3 linear feet)

Series 18: André Emmerich Personal Papers and Records, 1937-1940, 1946-2008 (Boxes 298-305, OV 321, OV 323; 7.7 linear feet)

Series 19: Addition to the The André Emmerich Gallery records and André Emmerich papers, 1956-2009 (Boxes 328-329, OV 330; 2.1 linear feet)
Historical Note:
André Emmerich (1924-2007) was one of America's most noted contemporary art dealers and opened the André Emmerich Gallery in New York in 1954. The gallery showcased contemporary art, particularly Color Field painting and monumental sculpture.

André Emmerich was born on October 11, 1924 in Frankfurt, Germany. From age 7 he was raised in Amsterdam before emigrating with his family to New York City in 1940. He studied at Oberlin College and developed an interest in pre-Columbian art and antiquities. After graduation, he spent ten years in Paris working as a writer and editor before returning to New York. He married Constance Emmerich and the couple had three sons, Adam, Noah, and Toby.

In 1954 Emmerich opened the André Emmerich Gallery at 18 East 77th Street and initially specialized in contemporary American and European art and pre-Columbian antiquities. In 1956, the gallery moved to 17 East 64th Street, and in 1959 to the Fuller Building at 41 East 57th Street. Emmerich wrote two books about pre-Columbian art, Art Before Columbus in 1963 and Sweat of the Sun, Tears of the Moon: Gold and Silver in Pre-Columbian Art in 1965.

In 1961, Emmerich learned that French and Company, a gallery advised by art critic Clement Greenberg, was closing its department of contemporary art. French and Company had represented Color Field painters Morris Louis, Kenneth Noland, and Jules Olitski. Emmerich immediately invited Louis and Noland to be represented by his gallery. In 1966 he extended the invitation to Olitski as well, and Helen Frankenthaler joined soon after. The gallery's reputation as one of the earliest and most important promoters of Color Field painters was launched.

In addition to Color Field painters, the gallery represented, among others, Pierre Alechinsky, Karel Appel, Milton Avery, Herbert Ferber, Sam Francis, John Graham, Al Held, David Hockney, Hans Hofmann, John Hoyland, Judy Pfaff, Miriam Schapiro, and Anne Truitt.

Until January 1983, sales of pre-Columbian art primarily went through an entity called André Emmerich Inc. (AE Inc.), while sales of contemporary went through the André Emmerich Gallery Inc. (AEG). In 1983, the two entities were merged and operated under the name André Emmerich Gallery Inc.

In 1971, Emmerich began operating a downtown gallery at 420 West Broadway, in SoHo, in space shared with Leo Castelli, Virginia Dwan, and Ileana Sonnabend. In 1972, Emmerich opened a branch of his gallery in Zurich. He incorporated the Galerie André Emmerich Gmbh primarily for the purpose of leasing gallery space in Zurich. Until February 1974, sales of Pre-Columbian art in Zurich were made by an entity called André Emmerich Gallery Inc., New York Filiale Zurich. The Galerie André Emmerich Gmbh was officially liquidated in May 1982. The Filiale was formally closed in October 1996. Galerie André Emmerich also enjoyed a short-lived joint venture with Gimpel & Hanover.

André Emmerich served as president of the Art Dealers Association of America from 1972-1974 and again from 1991-1994.

Emmerich opened a private 150 acre sculpture park, Top Gallant Farm, on his estate in Pawling, New York, in 1982, where he stored and exhibited monumental sculptures by artists his gallery represented including Anthony Caro, Beverly Pepper, Alexander Liberman, Alexander Calder, Mark di Suvero, George Rickey, and Keith Haring. David Hockney painted waves onto floor of the property's swimming pool in 1986. Emmerich operated the sculpture park until 1996.

Emmerich sold his gallery to Sotheby's in 1996. He continued to be affiliated with the gallery until Sotheby's closed the gallery in 1998. Emmerich then began work on his memoir, My Life With Art, excerpts of which have been published in Art News, the Wall Street Journal, and The New Criterion.

Andre Emmerich died in New York 2007 and is survived by his second wife, Susanne Emmerich.
Related Material:
Among the holdings of the Archives of American Art is an oral history interview with André Emmerich conducted by Mona Hadler on January 18, 1993.
Provenance:
The André Emmerich Gallery records and André Emmerich papers were donated to the Archives of American Art by André Emmerich in eight accretions between 1999 and 2002. Two additional accretions were donated by Emmerich's wife Susanne in 2008 and 2009; and by James Yohe, executive director (1990-1999), in 2009 and 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.
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:
Sculpture, Abstract  Search this
Color-field painting  Search this
Art -- Economic aspects  Search this
Artists' studios -- Photographs  Search this
Function:
Art galleries, Commercial -- New York (State)
Art galleries, Commercial -- Switzerland
Genre/Form:
Photographs
Visitors' books
Sound recordings
Video recordings
Scrapbooks
Etchings
Citation:
André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.andremmg
See more items in:
André Emmerich Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740
EDAN-URL:
ead_collection:sova-aaa-andremmg
Online Media:

Doris Rosenthal papers

Creator:
Rosenthal, Doris Patty, 1889-1971  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1932-circa 1971
Summary:
The scattered papers of painter Doris Rosenthal measure 0.2 linear feet and date from 1932 to circa 1971. Found are writings by Rosenthal on Mexico, an inventory of works of art, photographs, and printed material.
Scope and Contents:
The scattered papers of painter Doris Rosenthal measure 0.2 linear feet and date from 1932 to circa 1971. Found are writings by Rosenthal on Mexico and Latin America, an inventory of works of art, photographs, and printed material.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Doris Patty Rosenthal (1889-1971) was a painter, lithographer, designer, and educator who traveled frequently throughout Mexico and painted scenes of Mexican life and culture.

Rosenthal earned a degree in teaching from Los Angeles State Teachers College in 1910, and Teachers College of Columbia University in 1913. She taught painting and drawing in Columbia University's Teachers College from 1924 to 1931, and then taught at James Monroe High School in the Bronx.

Rosenthal moved permanently to Mexico in 1957, and died in the city of Oaxaca in 1971
Related Materials:
Additional papers of Doris Patty Rosenthal are held at Syracuse University.
Provenance:
The donor, Mary Gruskin, was the director of Midtown Galleries, Inc., which represented Rosenthal.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Educators -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Designers -- New York (State) -- New York  Search this
Painters -- Mexico  Search this
Topic:
Women painters  Search this
Women artists  Search this
Women educators  Search this
Citation:
Doris Rosenthal papers, 1932-circa 1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rosedori
See more items in:
Doris Rosenthal papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b85f6ff6-58eb-4df5-896b-9fb2bdc8fa8c
EDAN-URL:
ead_collection:sova-aaa-rosedori

Lauris Mason research material on George Bellows, 1976-1981

Creator:
Mason, Lauris  Search this
Subject:
Bellows, George  Search this
Albright, Ivan  Search this
Morgan, Charles H. (Charles Hill)  Search this
Ludman, Joan  Search this
Citation:
Lauris Mason research material on George Bellows, 1976-1981. Archives of American Art, Smithsonian Institution.
Topic:
Women art historians  Search this
Theme:
Research and writing about art  Search this
Record number:
(DSI-AAA_CollID)10957
(DSI-AAA_SIRISBib)214739
AAA_collcode_masolaur
Theme:
Research and writing about art
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214739

Lauris Mason research material on George Bellows

Creator:
Mason, Lauris  Search this
Names:
Albright, Ivan, 1897-1983  Search this
Bellows, George, 1882-1925  Search this
Ludman, Joan  Search this
Morgan, Charles H. (Charles Hill), 1902-1984  Search this
Extent:
0.01 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1976-1981
Summary:
The Lauris Mason research material on George Bellows dates from 1976-1981 and measures 0.01 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977).
Scope and Contents:
The Lauris Mason research material on George Bellows dates from 1976-1981 and measures 0.01 linear feet. Records document research conducted by Mason for her book The Lithographs of George Bellows: A Catalogue Raisonné; Lauris Mason; Joan Ludman; Charles H. Morgan (Millwood, N.Y.: KTO Press, 1977).

Records include correspondence with Charles H. Morgan and others discussing inquiries for information on Bellows and his lithographs, and progress on the catalog. Other documentation includes a draft introduction for the catalog written by Morgan and related correspondence, and letters concerning a dispute with Jean Bellows Booth, daughter of George Bellows, over permissions to access her father's record book and publish his lithographs. Also found is a pamphlet announcing the publication, copies of two reviews of the catalog raisonné, and unrelated 1978 correspondence with Ivan Albright related to Mason's request to purchase prints by Albright.
Biographical / Historical:
Coral Gables, Florida, author, editor, and art historian Lauris Mason authored several anthologies and bibliographies on printmaking. Her publications include a catalog raisonné of the lithographs of New York painter and printmaker George Bellows, which she co-authored with Joan Ludman (1932-2015), an art historian with expertise in prints, and Charles Hill Morgan (1902-1984), an educator and art historian from Amherst, Massachusetts. Mason and her husband Daniel J. Mason are also collectors of pop-up books and related ephemera.
Provenance:
The collection was donated to the Archives of American Art by Lauris Mason in 1989.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Authors -- Florida -- Coral Gables  Search this
Editors -- Florida -- Coral Gables  Search this
Art historians -- Florida -- Coral Gables  Search this
Topic:
Women art historians  Search this
Identifier:
AAA.masolaur
See more items in:
Lauris Mason research material on George Bellows
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9241331a2-2497-4db0-a8f7-5f88576a9933
EDAN-URL:
ead_collection:sova-aaa-masolaur

Weyhe Gallery records

Creator:
Weyhe Gallery  Search this
Names:
Galerie Alfred Flechtheim  Search this
Weyhe Art Books, Inc.  Search this
Kistler, Lynton R., , 1897-1993  Search this
Weyhe, Erhard, 1882-1972  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
15.3 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1921-2014
Summary:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Scope and Contents:
The records of New York gallery and bookstore Weyhe Gallery measure 15.3 linear feet and date from 1921 to 2014. The collection is comprised of administrative files that include material related to the daily functions of the gallery; correspondence with curators, dealers, museums, clients, and artists including Ansel Adams, Alexander Brook, Galerie Alfred Flechtheim, Hilla Rebay, and Marion Willard, among others, and from Lynton Kistler to Carl Zigrosser expressing his desire to exhibit his collection of hand-printed lithographs; artist files that include correspondence and business records; financial records consisting of loan and consignment records, sales invoices, ledgers, and other material that documents the movement of artwork through the gallery and bookstore; printed materials that include photocopies of sales catalogs, clippings, exhibition announcements and catalogs, and other material; and photocopies of 8 volumes of scrapbooks containing clippings relating to artists, prints, and the gallery.
Arrangement:
The collection is arranged as six series.

Series 1: Administrative Files, circa 1930-circa 1990 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1921-2005 (3.0 linear feet; Boxes 1-4)

Series 3: Artist Files, 1930-2002 (0.8 linear feet; Boxes 4-5)

Series 4: Financial Records, 1926-2009 (9.2 linear feet; Boxes 5-14, 17)

Series 5: Printed Materials, 1930-2014 (0.8 linear feet; Box 14, OV 18)

Series 6: Scrapbooks, circa 2000 (1.0 linear feet; Boxes 14-16)
Biographical / Historical:
The Weyhe Gallery (est. 1919) was an art gallery and bookstore in New York, N.Y. It was one of the first New York galleries to specialize in prints.

The gallery was established by German-born dealer Erhard Weyhe (1883-1972). Before World War I, he worked as a print dealer, as well as a book dealer and publisher. He owned a shop in London but moved his business to New York once the war began. He first opened the Weyhe Gallery on 710 Lexington Ave. in 1919. From 1923 to 2003, the gallery was located at 794 Lexington Ave. The gallery focused on artists from Western Europe but also sold the works of Antonio Frasconi, Wanda Gág, Rockwell Kent, Rudy Pozatti, and Diego Rivera among others.

Carl Zigrossser was the gallery's first director from 1919 to 1940. When Zigrosser departed after accepting a position at the Philadelphia Museum of Art, Weyhe took over as director. After Weyhe's death in 1972, his daughter, Gertrude Dennis, operated the gallery and bookstore until her death in 2003. Weyhe's granddaughter, Deborah Kiley, currently runs the gallery as Weyhe Art Books in Mt. Desert, Maine.
Provenance:
The records were donated in 1996, 2012, and 2016 by the Weyhe Gallery via owners Gertrude Weyhe Dennis and Deborah Weyhe Kiley.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Prints  Search this
Printmakers  Search this
Collectors and collecting  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Scrapbooks
Citation:
Weyhe Gallery records, 1921-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.weyhgall
See more items in:
Weyhe Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ceb8e591-6c02-4fb4-8091-e3d9e1a3b519
EDAN-URL:
ead_collection:sova-aaa-weyhgall
Online Media:

Centurus Flaviventris _1 Male _ 2 Female

Printer:
Bowen & Co.  Search this
Maker:
Hitchcock, William E.  Search this
Cassin, John  Search this
Physical Description:
paper (overall material)
ink (overall material)
Measurements:
overall: 27.4 cm x 21.9 cm; x 10 13/16 in x 8 5/8 in
Object Name:
Sheet (Paper)
print
Object Type:
Hand-Color Lithograph
Place Made:
United States: District of Columbia, Washington
Date made:
ca 1857
ID Number:
2010.0085.01
Accession number:
2010.0085
Catalog number:
2010.0085.01
See more items in:
Work and Industry: Graphic Arts
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746ad-382f-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_1393795

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