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Creator:

Bry, Edith, 1898-  Search this

Citation:

Edith Bry papers, 1914-1969. Archives of American Art, Smithsonian Institution.

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Theme:

Women  Search this

Craft  Search this

Lives of artists  Search this

Record number:

(DSI-AAA_CollID)6690

(DSI-AAA_SIRISBib)208815

AAA_collcode_bryeditp

Theme:

Women

Craft

Lives of artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_208815

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

Creator:

Bry, Edith  Search this

Extent:

1.3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1914-1969

Summary:

The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.

Scope and Contents:

The papers of Edith Bry measure 1.3 linear foot and date from 1914 to 1969. The papers document her art career and her activities with the Federation of Modern Painters and Sculptors through biographical material, correspondence, writings and notes, personal business records, printed material, photographs, artwork, and two scrapbooks.

Correspondence from friends and colleagues largely discusses Bry's artwork and activity within committees and organizations. Correspondents include John Taylor Arms, Alfred H. Barr, Marc Blitzstein, Adolf Dehn, Alma Dettinger, George Gershwin, Adolph Gottlieb, Marsden Hartley, Ruth Lembeck, Abraham Rattner, Sigmund Romberg, C. L. Sulzberger, Louis Untermeyer, John von Wicht, Stow Wengenroth, Harold Weston, and others.

Writings include notes on various techniques and materials used by Bry in her artwork. An etching is by Hermann Struck and a doodle is by Adolph Gottlieb. Two mixed media scrapbooks contain newspaper clippings and exhibition announcements and catalogs spanning Bry's career from 1922 to 1967.

Arrangement:

Due to the small size of this collection the papers are arranged as one series.

Series 1: Edith Bry papers, 1914-1967 (Boxes 1-3; 1.0 linear feet)

Biographical / Historical:

Edith Bry (1898-1991) was an assemblage artist, collagist, painter, and lithographer active in New York City, New York.

Edith Bry was born in 1898 in St. Louis, Missouri and moved to New York City to study art. She began her career making batik and went on to produce oil paintings, enamels, mosaics, jewelry, lithographs, stained glass, collages, assemblage works, woodcuts and silkscreen prints. Later in life, she became an officer with the Federation of Modern Painters and Sculptors.

Bry married Maurice Shevelson Benjamin and together they had one child, Bry Benjamin. Edith Bry died in 1991 at her apartment located in the Beresford along Central Park in New York City, New York.

Provenance:

Edith Bry loaned her papers for microfilming and later donated them to the Archives of American Art from 1969 to 1976.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Assemblage artists -- New York (State) -- New York  Search this

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

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

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

Topic:

Women artists  Search this

Women painters  Search this

Women printmakers  Search this

Citation:

Edith Bry papers, 1914-1969. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.bryeditp

See more items in:

Edith Bry papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c9118b41-c9d2-41b8-94c4-84cf02a39cd5

EDAN-URL:

ead_collection:sova-aaa-bryeditp

Subject:

Brubeck, Elmer  Search this

Type:

Photographs

Date:

1910 Nov. 24

Citation:

Elmer Brubeck, 1910 Nov. 24. The Zorach family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Topic:

Printmaking  Search this

Record number:

(DSI-AAA)13468

See more items in:

The Zorach family papers, 1900-1987

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_13468

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.

Sponsor:

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

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

Creator:

Kraushaar Galleries  Search this

Names:

Art Institute of Chicago  Search this

Carnegie Institute  Search this

Cleveland Museum of Art  Search this

Ernest Brown and Co.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New Britain Institute. Art Museum  Search this

Toledo Museum of Art  Search this

University of Nebraska--Lincoln. Department of Art  Search this

Whitney Museum of American Art  Search this

Wichita Art Museum  Search this

Albrizio, Humbert, 1901-1970  Search this

Allard, J.  Search this

Arnest, Bernard, 1917-  Search this

Bacon, Peggy, 1895-1987  Search this

Beal, Gifford, 1879-1956  Search this

Beal, Reynolds, 1866-1951  Search this

Bignou, Etienne  Search this

Bouché, Louis, 1896-1969  Search this

Brueming, Karen  Search this

Cantene, David  Search this

Cowles, Russell, 1887-1979  Search this

DeLonga, Leonard  Search this

Demuth, Charles, 1883-1935  Search this

Evett, Kenneth Warnock, 1913-  Search this

Fausett, Dean, 1913-  Search this

Flannery, Vaughn  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Guillaume, Paul, 1891-1934  Search this

Halberstadt, Ernst, 1910-1987  Search this

Hardy, Thomas, 1921-  Search this

Harrison, Preston  Search this

Hartell, John  Search this

Heliker, John, 1909-2000  Search this

Juley, Peter A., 1862-1937  Search this

Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this

Kraushaar, Antoinette M., 1902-1992  Search this

Kraushaar, John F., 1871-1946  Search this

Kuhn, Walt, 1877-1949  Search this

Lachaise, Gaston, 1882-1935  Search this

Lasker, Joe  Search this

Laurent, Robert, 1890-1970  Search this

Lechay, James  Search this

Luks, George Benjamin, 1867-1933  Search this

Miller, Harriette  Search this

Morris, Carl, 1911-1993  Search this

Murdock, Roland P. -- Art collections  Search this

Navas, Elizabeth S., 1885-1979  Search this

Penney, James, 1910-1982  Search this

Phillips, Duncan, 1886-1966  Search this

Prendergast, Charles, 1863-1948  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Robinson, Boardman, 1876-1952  Search this

Ruellan, Andrée, 1905-2006  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Sloan, John, 1871-1951  Search this

Smalley, David, 1940-  Search this

Smith, Vernon, 1894-1969  Search this

Stanley, Alix W.  Search this

Williams, Esther, 1907-1969  Search this

Wilson, Ralph L.  Search this

Extent:

106.3 Linear feet

0.181 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Date:

1877-2006

Summary:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

Scope and Content Note:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.

Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.

The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.

From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.

From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.

The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.

The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.

The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.

See Appendix for a list of Kraushaar Galleries exhibitions

Arrangement:

Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.

Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.

For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.

Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.

Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.

Missing Title

Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)

Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)

Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)

Series 4: Photographs, undated (box 54; 0.5 linear ft.)

Series 5: Artwork, [1926, 1938] (box 53; 2 items)

Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)

Historical Note:

Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.

In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.

When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.

Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).

Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.

During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.

Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."

While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."

Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.

In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.

Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"

Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."

In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.

By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.

In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.

By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:

Missing Title

1854 -- Charles W. Kraushaar born

1871 -- John F. Kraushaar born

1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street

1901 -- Galleries moved to 260 Fifth Avenue

1902 -- Antoinette Kraushaar born

1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition

1919 -- Galleries moved to 680 Fifth Avenue

[1920] -- Antoinette Kraushaar began assisting with the business

1924 -- Maurice Prendergast died

1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue

1938 -- William J. Glackens died

1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business

1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business

1948 -- Charles Prendergast died

1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries

1951 -- John Sloan died

1955 -- Galleries moved to 1055 Madison Avenue

1959 -- Carole Pesner joined Kraushaar Galleries

1964 -- Galleries extended into adjacent building

1981 -- Galleries moved to 724 Fifth Avenue

1986 -- Katherine Kaplan joined Kraushaar Galleries

1988 -- Antoinette Kraushaar retired from day-to-day management of the business

1992 -- Antoinette Kraushaar died

Appendix: List of Kraushaar Galleries Exhibitions:

The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.

Missing Title

Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour

Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner

Jan., 1913 -- Paintings by Ignacio Zuloaga

May, 1913 -- Etchings by Seymour Haden

June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour

Oct., 1913 -- Etchings by Frank Brangwyn

Jan., 1914 -- Ignacio Zuloaga

Mar., 1914 -- Paintings by Alphonse Legros

Apr., 1914 -- George Luks

May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler

undated, 1915 -- Paintings by John Lavery

Jan.-Feb., 1917 -- James McNeill Whistler's White Girl

Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack

Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan

Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros

Oct., 1917 -- Monoprints by Salvatore Antonio Guarino

Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth

Jan., 1918 -- Recent Paintings by John Lavery

Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks

Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack

Mar., 1918 -- Paintings by John Sloan

Apr.-May, 1918 -- Paintings by A. L. Bouche

May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack

Oct., 1918 -- Oil Paintings by William Scott Pyle

Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young

Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino

Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack

Mar., 1919 -- Paintings and Drawings by John Sloan

May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder

Sept., 1919 -- Work by Jean Louis Forain

Oct., 1919 -- Etchings and Lithographs by Alphonse Legros

Jan., 1920 -- Recent Paintings by George Luks

Feb., 1920 -- Recent Paintings by John Sloan

Feb., 1920 -- Paintings by William Scott Pyle

Mar., 1920 -- Recent Paintings by Gifford Beal

Apr., 1920 -- Recent Paintings by Augustus Vincent Tack

Apr., 1920 -- Paintings by Henri Le Sidaner

Apr., 1920 -- Paintings and Drawings by Jean Louis Forain

Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers

May, 1920 -- Paintings by Henrietta M. Shore

Jan., 1921 -- Paintings by French and American Artists

Jan.-Feb., 1921 -- Paintings by George Luks

Feb., 1921 -- New Paintings by Augustus Vincent Tack

Apr., 1921 -- John Sloan Retrospective

Summer, 1921 -- French and American Artists

Oct., 1921 -- Paintings of Mountford Coolidge

Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner

Nov., 1921 -- Frank Van Vleet Tompkins

Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art

Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks

Feb., 1922 -- Paintings by Augustus Vincent Tack

Mar., 1922 -- Paintings and Watercolors by Gifford Beal

Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois

Summer, 1922 -- Paintings by Modern Masters of American and European Art

Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks

Jan., 1923 -- Exhibition of Paintings by George Luks

Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack

Mar., 1923 -- Landscapes by Will Shuster

Mar., 1923 -- Paintings by Samuel Halpert

Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal

Apr.-May, 1923 -- Paintings by John Sloan

May, 1923 -- Paintings by Frank Van Vleet Tompkins

June, 1923 -- Etchings by Marius A. J. Bauer

Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach

Dec., 1923 -- Etchings and Lithographs by Alphonse Legros

Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff

Jan., 1924 -- Paintings by Celebrated American Artists

Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois

Apr., 1924 -- New Paintings by George Luks

May, 1924 -- Paintings by Marjorie Phillips

Summer, 1924 -- French and American Modern Artists

Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach

Nov., 1924 -- Watercolors by Seven Americans

Dec., 1924 -- French Paintings

Jan., 1925 -- Paintings by John Sloan

Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition

Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay

Apr., 1925 -- Paintings by William J. Glackens

Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach

undated, 1926 -- Lower Broadway by W. Walcot

Feb., 1926 -- Paintings by Paul Burlin

Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack

Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal

Apr., 1926 -- John Sloan

Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson

Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists

Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan

Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry

Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach

Jan., 1927 -- French Drawings and Prints

Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan

Mar., 1927 -- Gifford Beal

Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent

Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers

Apr., 1927 -- Paintings and Etchings by Walter Pach

Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage

Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis

May, 1927 -- Paintings by Guy Pène Du Bois

Summer, 1927 -- Paintings by American Artists

Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat

Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel

Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene

Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach

Dec., 1927 -- Paintings by Guy Pène Du Bois

Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle

Jan.-Feb., 1928 -- Paintings by S. J. Peploe

Feb., 1928 -- Drawings by Henri Fantin-Latour

Feb., 1928 -- Pastels and Drawings by Margarett Sargent

Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton

Feb.-Mar., 1928 -- Sculpture by William Zorach

Mar., 1928 -- Recent Paintings by Marjorie Phillips

Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens

Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England

Oct., 1928 -- Modern French Paintings, Watercolors and Drawings

Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey

Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson

Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach

Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz

Jan., 1929 -- Exhibition of Paintings by Margarett Sargent

Jan., 1929 -- Watercolors by Rodin

Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler

Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois

Feb.-Mar., 1929 -- Paintings by Gifford Beal

Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers

Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan

Apr., 1929 -- Exhibition of Paintings by Arnold Friedman

Apr., 1929 -- Sculpture by Harriette G. Miller

May, 1929 -- Paintings by Howard Ashman Patterson

May, 1929 -- Paintings by William Meyerowitz

Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings

Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)

Jan., 1930 -- Paintings by Paul Bartlett

Feb., 1930 -- Watercolors by Auguste Rodin

Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois

Summer, 1930 -- Paintings by American Artists

Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast

Nov., 1930 -- Paintings by Ruth Jonas

Nov., 1930 -- Sculpture by Harriette G. Miller

Jan., 1931 -- Paintings and Watercolors by Richard Lahey

Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson

Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal

Mar., 1931 -- Paintings and Watercolors by Walter Pach

Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter

May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey

Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings

Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John

Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec

Jan., 1932 -- Watercolors by Pierre Brissaud

Feb., 1932 -- Paintings and Drawings by A. S. Baylinson

Mar., 1932 -- Watercolors and Pastels by French and American Artists

Apr., 1932 -- Paintings by Nan Watson

May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast

June-Aug., 1932 -- Paintings and Watercolors by American Artists

Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists

Jan., 1933 -- Paintings by Paul Bartlett

Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour

Feb., 1933 -- Etchings of Dogs by Bert Cobb

Feb.-Mar., 1933 -- Paintings by American Artists

Feb.-Apr., 1933 -- Paintings by Contemporary Americans

Apr., 1933 -- Paintings by Maurice Prendergast

Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings

Oct.-Nov., 1933 -- Drawings by Emily W. Miles

Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs

Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1933 -- Watercolors by Gifford Beal

Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"

Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan

Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs

Nov.-Dec., 1934 -- Paintings by Gifford Beal

Mar., 1935 -- Complete Collection of Etchings by Mahonri Young

July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz

Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast

Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg

Mar., 1936 -- Paintings by Louis Bouché

Apr., 1936 -- Paintings by Gifford Beal

Oct.-Nov., 1936 -- Loan Collection of French Paintings

Dec., 1936 -- Monotypes in Color by Maurice Prendergast

Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg

Jan., 1937 -- Paintings of Flowers by William J. Glackens

Feb., 1937 -- Etchings by John Sloan

Feb., 1937 -- A Group of American Paintings

Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir

Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast

Dec., 1937 -- American Watercolors

Jan.-Feb., 1938 -- Paintings by Gifford Beal

Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman

Apr., 1938 -- Paintings by Louis Bouché

May, 1938 -- Paintings and Pastels by Randall Davey

Oct., 1938 -- Selected Paintings by Modern French and American Artists

Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938

Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller

Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others

Jan., 1939 -- Paintings by H. H. Newton

Oct., 1939 -- French and American Paintings

Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes

Nov., 1939 -- Paintings and Watercolors by Russell Cowles

Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché

Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg

Mar.-Apr., 1940 -- Paintings by Maurice Prendergast

Apr.-May, 1940 -- Watercolors by Charles Kaeselau

May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian

Oct., 1940 -- Drawings by American Artists

Nov., 1940 -- Walt Dehner

Mar., 1941 -- John Koch

May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal

Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles

Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1941 -- Charles Prendergast

Jan., 1942 -- Paintings by Samuel Brecher

Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois

Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché

Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"

Dec., 1942 -- Paintings from the Period of the Last War

Feb., 1943 -- Paintings and Watercolors by William Dean Fausett

Mar., 1943 -- Paintings by John Hartell

May-July, 1943 -- Watercolors by Contemporary American Artists

Feb.-Mar., 1944 -- Samuel Brecher

Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan

Mar., 1944 -- Vaughn Flannery

Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles

Apr.-May, 1944 -- Recent Paintings by Louis Bouché

May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller

Oct., 1944 -- Esther Williams

Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast

Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition

Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan

Jan.-Feb., 1945 -- Paintings by Gifford Beal

Feb.-Mar., 1945 -- Paintings by Andrée Ruellan

Apr.-May, 1945 -- Charles Locke

May-June, 1945 -- William Dean Fausett

Oct., 1945 -- Paintings by John Hartell

Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase

Nov.-Dec., 1945 -- Gouaches by Cecil Bell

Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman

undated, 1946 -- Russell Cowles

Jan.-Feb., 1946 -- Richard Lahey

Feb., 1946 -- John Koch

Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt

Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg

Mar., 1946 -- Iver Rose

Apr., 1946 -- Louis Bouché

Apr.-May, 1946 -- Russell Cowles

May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith

Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson

Nov., 1946 -- Guy Pène Du Bois

Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition

Jan., 1947 -- Karl Schrag

Feb.-Mar., 1947 -- Sculpture by Robert Laurent

Feb.-Mar., 1947 -- Paintings by Iver Rose

Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith

Apr., 1947 -- Charles Prendergast

Apr., 1947 -- Louis Bouché

Apr.-May, 1947 -- Esther Williams

Oct.-Nov., 1947 -- Anna Licht

Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens

Mar., 1948 -- Russell Cowles

Apr.-May, 1948 -- Bernard Arnest

Aug.-Sept., 1948 -- New York Paintings and Watercolors

Oct.-Nov., 1948 -- Kenneth Evett

Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller

Jan.-Feb., 1949 -- John Hartell

Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches

Oct., 1949 -- Contemporary Paintings

Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors

Jan.-Feb., 1950 -- James Penney

Feb.-Mar., 1950 -- Paintings by Karl Schrag

Mar.-Apr., 1950 -- Russell Cowles

Jan.-Feb., 1951 -- William Sommer

Feb., 1951 -- Prints and Drawings by Various Artists

Feb., 1951 -- Paintings by Louis Bouché

Mar., 1951 -- Kenneth Evett

Apr.-May, 1951 -- Paintings by Gallery Artists

May-July, 1951 -- Contemporary American Watercolors

July-Aug., 1951 -- Paintings on the Summer Theme

Sept.-Oct., 1951 -- Vaughn Flannery

Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists

Nov., 1951 -- Paintings by John Koch

Nov.-Dec., 1951 -- Joe Lasker

Dec., 1951 -- Small Prints and Drawings

Jan., 1952 -- Recent Gouaches by William Kienbusch

Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career

Feb.-Mar., 1952 -- Andrée Ruellan

Mar.-Apr., 1952 -- Bernard Arnest

Apr.-May, 1952 -- Recent Sculpture by Robert Laurent

May, 1952 -- Recent Paintings by Contemporary American Artists

May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld

July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag

Nov., 1952 -- Karl Schrag

Dec., 1952-Jan. 1953 -- Eight Oregon Artists

Jan., 1953 -- Charles Prendergast Memorial Exhibition

Jan.-Feb., 1953 -- John Hartell

May, 1953 -- John Heliker

June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag

Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay

Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan

Oct.-Nov., 1953 -- Paintings by E. Powis Jones

Oct.-Nov., 1953 -- Recent Works by John Koch

Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology

Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy

Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon

Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin

Feb.-Mar., 1954 -- Russell Cowles

Mar.-Apr., 1954 -- James Penney

Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures

Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey

Jan.-Feb., 1955 -- James Lechay

Feb., 1955 -- Mobiles by George Rickey

Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)

Mar.-Apr., 1955 -- Jane Wasey

Apr., 1955 -- Recent Work by Joe Lasker

May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists

Jan., 1956 -- Carl Morris

Jan.-Feb., 1956 -- John Laurent

Feb.-Mar., 1956 -- William Kienbusch

Mar., 1956 -- Andrée Ruellan

Mar.-Apr., 1956 -- Karl Schrag

Apr.-May, 1956 -- John Heliker

May, 1956 -- Monotypes by Maurice Prendergast

Oct., 1956 -- The Eight

Jan.-Feb., 1957 -- Paintings by John Hartell

Apr., 1957 -- James Penney

Apr.-May, 1957 -- John Heliker

May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)

June-July, 1957 -- 20th Century American Artists

Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)

Nov., 1957 -- Marguerite Zorach

Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke

Jan.-Feb., 1958 -- Tom Hardy

Feb.-Mar., 1958 -- John Koch

Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast

Feb.-Mar., 1958 -- Cecil Bell

Mar., 1958 -- Karl Schrag

Mar., 1958 -- Carl Morris

Mar.-Apr., 1958 -- Louis Bouché

Apr., 1958 -- Paintings and Drawings by Joe Lasker

Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman

Apr.-May, 1958 -- Sculpture by Henry Mitchell

May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag

July, 1958 -- Still Life Paintings and Watercolors by American Artists

Oct.-Nov., 1958 -- Kenneth Evett

Nov., 1958 -- Elsie Manville

Nov.-Dec., 1958 -- John Laurent

Jan., 1959 -- Kinetic Sculpture by George Rickey

Jan.-Feb., 1959 -- Bernard Arnest

Mar., 1959 -- Karl Schrag

Mar.-Apr., 1959 -- Paintings by Joe Lasker

Apr.-May, 1959 -- Henry Mitchell

Sept.-Oct., 1959 -- Robert Searle

Oct.-Nov., 1959 -- Russell Cowles

Nov., 1959 -- Caseins and Paintings by William Kienbusch

Dec., 1959 -- Paintings by Vaughn Flannery

Feb., 1960 -- James Lechay

Apr., 1960 -- Landscapes by John Sloan

Apr.-May, 1960 -- John Guerin

May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists

Oct., 1960 -- Ainslie Burke

Oct.-Nov., 1960 -- Leon Goldin

Nov.-Dec., 1960 -- Ulfert Wilke

Jan., 1961 -- Leonard DeLonga

Jan., 1961 -- Kenneth Evett

Jan.-Feb., 1961 -- Walter Feldman

Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists

Mar., 1961 -- Paintings by Ralph Dubin

Mar.-Apr., 1961 -- James Penney

Apr.-May, 1961 -- John Koch

June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach

Sept., 1961 -- Works by Contemporary Americans

Oct., 1961 -- George Rickey: Kinetic Sculpture

Oct.-Nov., 1961 -- Carl Morris

Nov.-Dec., 1961 -- Peggy Bacon

Dec., 1961 -- Selected Works by Twentieth-Century Americans

Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett

Jan.-Feb., 1962 -- Louis Bouché

Feb.-Mar., 1962 -- Karl Schrag

Mar., 1962 -- Marguerite Zorach

Apr., 1962 -- John Laurent

Apr.-May, 1962 -- Sculpture by Tom Hardy

May-June, 1962 -- Drawings by Contemporary American Artists

July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists

Oct., 1962 -- Bernard Arnest

Feb., 1963 -- William Kienbusch

Feb.-Mar., 1963 -- John Guerin

Mar., 1963 -- John Hartell

Sept.-Oct., 1963 -- Andrée Ruellan

Oct.-Nov., 1963 -- Ainslie Burke

Nov., 1963 -- Walter Feldman

Dec., 1963 -- Drawings by John Koch

Dec., 1963 -- Paintings by Contemporary Americans

Jan., 1964 -- Leonard DeLonga

Jan.-Feb., 1964 -- Joe Lasker

Feb.-Mar., 1964 -- Leon Goldin

Mar., 1964 -- Paintings by Ralph Dubin

Apr., 1964 -- Carl Morris

Apr.-May, 1964 -- Paintings and Drawings by John Heliker

Oct.-Nov., 1964 -- Louis Bouché

Nov.-Dec., 1964 -- Karl Schrag

Dec., 1964 -- Kenneth Evett

Feb., 1965 -- Russell Cowles

Feb.-Mar., 1965 -- James Lechay

Mar.-Apr., 1965 -- James Penney

Apr.-May, 1965 -- Gifford Beal

Feb., 1966 -- Dennis Leon

Feb.-Mar., 1966 -- Henry Schnakenberg

Mar.-Apr., 1966 -- John Hartell

Apr., 1966 -- Elsie Manville

Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries

Oct.-Nov., 1966 -- Tom Hardy

Nov.-Dec., 1966 -- Francis Chapin

Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs

Jan.-Feb., 1967 -- Leonard DeLonga

Feb.-Mar., 1967 -- Carl Morris

Mar.-Apr., 1967 -- Ainslie Burke

Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors

May-June, 1967 -- William Glackens

Oct., 1967 -- Kenneth Callahan

Oct.-Nov., 1967 -- John Laurent

Jan.-Feb., 1968 -- Dennis Leon

Feb.-Mar., 1968 -- Robert La Hotan

Apr., 1968 -- John Guerin

Apr.-May, 1968 -- Leon Goldin

Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings

Oct.-Nov., 1968 -- Karl Schrag

Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes

Dec., 1968-Jan., 1969 -- Group Exhibition

Jan., 1969 -- Elsie Manville

Mar., 1969 -- Kenneth Evett

Apr.-May, 1969 -- James Penney

Sept.-Oct., 1969 -- New Works by Contemporary Artists

Oct.-Nov., 1969 -- John Hartell: Exhibition

Nov., 1969 -- Peggy Bacon

Dec., 1969 -- Selected Examples by American Artists 1900-1930

Jan., 1970 -- Leonard DeLonga

Feb., 1970 -- Joe Lasker

Mar., 1970 -- Group Exhibition

Mar.-Apr., 1970 -- Dennis Leon

Apr.-May, 1970 -- Jerome Myers

Oct.-Nov., 1970 -- Tom Hardy

Jan.-Feb., 1971 -- Jane Wasey

Mar.-Apr., 1971 -- Kenneth Callahan

Oct., 1971 -- Ainslie Burke

Nov.-Dec., 1971 -- Karl Schrag

Feb.-Mar., 1972 -- John Koch

Mar.-Apr., 1972 -- Robert La Hotan

Apr.-May, 1972 -- Leon Goldin

May-June, 1972 -- Selected Works by 20th Century Americans

Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings

Oct.-Nov., 1972 -- John Hartell

Nov.-Dec., 1972 -- Peggy Bacon

Dec., 1972 -- 20th Century Americans

Jan., 1973 -- Leonard DeLonga

Feb., 1973 -- Carl Morris

Mar., 1973 -- James Lechay

Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings

Apr.-May, 1973 -- Jerome Witkin

May-June, 1973 -- Kenneth Evett: Watercolors

Oct.-Nov., 1973 -- Kenneth Callahan

Jan., 1974 -- Joe Lasker

Jan.-Feb., 1974 -- Bernard Arnest

Feb.-Mar., 1974 -- Concetta Scaravaglione

Oct., 1974 -- Ainslie Burke

Oct.-Nov., 1974 -- James Penney

Jan., 1975 -- Tom Hardy

Jan.-Feb., 1975 -- Karl Schrag

Feb.-Mar., 1975 -- Robert La Hotan

Mar.-Apr., 1975 -- William Kienbusch

Apr., 1975 -- Elsie Manville

Apr.-May, 1975 -- Gifford Beal

Oct.-Nov., 1975 -- John Hartell

Nov., 1975 -- Daniel O'Sullivan

Mar., 1976 -- Jerome Witkin

May, 1976 -- Linda Sokolowski

Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After

Oct., 1976 -- Leonard DeLonga

Nov.-Dec., 1976 -- Kenneth Callahan

Jan., 1977 -- James Lechay

Mar., 1977 -- Karl Schrag

Mar.-Apr., 1977 -- David Cantine

Oct.-Nov., 1977 -- John Hartell

Nov.-Dec., 1977 -- Ainslie Burke

Feb., 1978 -- Robert La Hotan

Apr., 1978 -- Elsie Manville

Oct., 1978 -- Tom Hardy

Oct.-Nov., 1978 -- Jerome Witkin

Jan.-Feb., 1979 -- Joe Lasker

Feb., 1979 -- Kenneth Evett

Feb.-Mar., 1979 -- Karl Schrag

Mar.-Apr., 1979 -- Carl Morris

Apr.-May, 1979 -- Linda Sokolowski

Oct.-Nov., 1979 -- Daniel O'Sullivan

Feb.-Mar., 1980 -- Kenneth Callahan

Mar., 1980 -- Ainslie Burke

Oct., 1980 -- John Hartell

Jan., 1981 -- Leonard DeLonga

Feb., 1981 -- James Lechay

Feb.-Mar., 1981 -- Robert La Hotan

Mar.-Apr., 1981 -- Jerry Atkins

Apr.-May, 1981 -- Ben Frank Moss

Jan.-Feb., 1982 -- Jerome Witkin

Feb.-Mar., 1982 -- Elsie Manville

Mar.-Apr., 1982 -- Karl Schrag

Apr.-May, 1982 -- Linda Sokolowski

May-June, 1982 -- David Cantine

Sept.-Oct., 1982 -- Kenneth Callahan

Oct.-Nov., 1982 -- Joe Lasker

Nov.-Dec., 1982 -- Daniel O'Sullivan

Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition

Feb.-Mar., 1983 -- Jerry Atkins

Mar.-Apr., 1983 -- John Hartell

Apr.-May, 1983 -- John Heliker

May-June, 1983 -- Kenneth Evett

Oct., 1983 -- Concetta Scaravaglione

Oct.-Nov., 1983 -- Ben Frank Moss

Nov.-Dec., 1983 -- Russell Cowles

Dec., 1983-Jan., 1984 -- 20th Century Americans

Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad

Feb.-Mar., 1984 -- Robert La Hotan

Mar., 1984 -- David Smalley

Apr., 1984 -- Carl Morris

May, 1984 -- Karl Schrag

July, 1984 -- Drawings by 20th Century Americans

July-Aug., 1984 -- Collages and Drawings by Joseph Heil

Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy

Sept.-Oct., 1984 -- James Penney: Memorial Exhibition

Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin

Nov.-Dec., 1984 -- Isabelle Siegel

Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture

Jan.-Feb., 1985 -- James Lechay

Feb.-Mar., 1985 -- Ainslie Burke

Mar., 1985 -- Karen Breunig

Apr., 1985 -- Kenneth Callahan

Oct., 1985 -- Elsie Manville

Oct.-Nov., 1985 -- William Glackens

Jan.-Feb., 1986 -- Linda Sokolowski

Feb.-Mar., 1986 -- Jerry Atkins

Apr.-May, 1986 -- Jane Wasey

Oct.-Nov., 1986 -- John Hartell

Nov.-Dec., 1986 -- Karl Schrag

Feb.-Mar., 1987 -- Kenneth Evett

Apr.-May, 1987 -- Ben Frank Moss

May-June, 1987 -- David Smalley

Oct.-Nov., 1987 -- Isabelle Siegel

Feb.-Mar., 1988 -- Karen Breunig

Mar.-Apr., 1988 -- Leon Goldin

Sept.-Oct., 1988 -- Elsie Manville

Oct.-Nov., 1988 -- James Lechay

Jan.-Feb., 1989 -- Karl Schrag

Feb.-Mar., 1989 -- Linda Sokolowski

Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties

Jan.-Feb., 1990 -- Gifford Beal: Watercolors

Mar., 1990 -- Robert La Hotan: Recent Paintings

Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings

May-June, 1990 -- David Smalley: Recent Sculpture

May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...

Oct., 1990 -- Isabelle Siegel

Nov., 1990 -- Leon Goldin

Jan.-Feb., 1991 -- Karl Schrag

Feb.-Mar., 1991 -- Joe Lasker

Apr., 1991 -- Ainslie Burke

Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes

Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper

Mar., 1992 -- Tabitha Vevers

May-June, 1992 -- Sonia Gechtoff

Oct.-Nov., 1992 -- James Lechay

Nov.-Dec., 1992 -- Karl Schrag

Mar., 1993 -- Leon Goldin: Works on Paper

Apr.-May, 1993 -- Robert La Hotan

Oct., 1993 -- David Smalley: Sculpture Inside and Out

Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980

Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)

Mar.-Apr., 1994 -- Tabitha Vevers

Oct.-Nov., 1994 -- Linda Sokolowski

Nov.-Dec., 1994 -- Karl Schrag

Jan.-Feb., 1995 -- Langdon Quin

Mar.-Apr., 1995 -- Robert La Hotan

Sept.-Oct., 1995 -- Sonia Gechtoff

Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper

Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995

Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors

Mar.-Apr., 1997 -- Tabitha Vevers

Oct.-Nov., 1997 -- James Lechay

Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest

Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper

Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere

Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings

Nov.-Dec., 1998 -- John Gill

Jan.-Feb., 1999 -- Robert La Hotan

Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart

Nov.-Dec., 1999 -- Kathryn Wall

Jan.-Feb., 2000 -- Elsie Manville

Sept.-Oct., 2000 -- Joe Lasker

Oct.-Nov., 2000 -- James Lechay

Oct.-Nov., 2000 -- Tabitha Vevers

May-June, 2001 -- Kenneth Callahan: Drawings

Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper

Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow

undated, 2003 -- Ann Sperry

Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s

Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements

Nov.-Dec., 2003 -- Tabitha Vevers

Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper

May-July, 2004 -- Anne Frank: A Private Photo Album

Jan.-Feb., 2005 -- John Gill: Ceramics

Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights

Related Material:

An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.

Separated Material:

In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.

Provenance:

53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.

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. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

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

Topic:

Works of art  Search this

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

Identifier:

AAA.kraugall

See more items in:

Kraushaar Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9507d7d92-d503-4ed4-9ed6-12975adb8473

EDAN-URL:

ead_collection:sova-aaa-kraugall

Creator:

Zorach Family  Search this

Names:

Art Students League (New York, N.Y.)  Search this

Brooklyn Museum  Search this

Adams, Ansel, 1902-1984  Search this

Cunningham, Imogen, 1883-1976  Search this

Ipcar, Dahlov, 1917-2017  Search this

Newman, Arnold, 1918-2006  Search this

Partridge, Roi, 1888-1984  Search this

Zorach, Marguerite, 1887-1968  Search this

Zorach, Tessim  Search this

Zorach, William, 1887-1966  Search this

Extent:

4.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Date:

1900-1987

Summary:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

Scope and Content Note:

The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.

The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.

Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.

The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.

The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.

Other photographs are of works of art, most of which depict William's works.

Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.

Arrangement:

The collection is arranged into 9 series:

Missing Title

Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)

Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)

Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)

Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)

Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)

Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)

Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)

Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)

Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)

Biographical Note:

William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)

Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.

Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.

In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.

In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.

Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.

William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.

Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.

Related Material:

The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.

The bulk of William Zorach's papers are held by the Library of Congress.

Separated Material:

The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.

Provenance:

William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.

Restrictions:

Use of originals requires an appointment.

Rights:

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

Occupation:

Art dealers -- New York (State) -- New York  Search this

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

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

Weavers  Search this

Topic:

Art -- Collectors and collecting -- New York (State) -- New York  Search this

Artist couples  Search this

Artists' studios -- Photographs  Search this

Works of art  Search this

Women artists  Search this

Women painters  Search this

Women sculptors  Search this

Genre/Form:

Interviews

Prints

Articles

Sketchbooks

Photographs

Drawings

Scrapbooks

Notes

Writings

Citation:

The Zorach Family papers, 1900-1987. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.zorazora

See more items in:

The Zorach family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99b759247-30c2-4d06-9c75-1c7b0054f5d5

EDAN-URL:

ead_collection:sova-aaa-zorazora

Collection Creator:

Myers, Frank Harmon, 1899-1956  Search this

Extent:

0.5 Linear feet (Box 2, Ov 3)

Type:

Archival materials

Date:

1924-1963

Scope and Contents:

Found here is printed material documenting Myers' personal and professional life. Files include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions; a series of advertisement illustrations he created for The Burkhardt Bros Co. circa 1929; two lithographs and a memorial he designed for Hideyo Noguchi; and exhibition ephemera from shows at The Chicago Galleries Association, Getz-Brown Gallery, Pebble Beach Art Gallery, Museum of New Mexico, The Triton Museum of Art, and the M. H. De Young Memorial Museum, and more. Also found in this series are programs, clippings, lists of song titles, and notes related to Myers' musicianship, and additional newspaper clippings about social events attended by Myers, fellow artists, family and friends, and other topics of interest.

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.

Collection Rights:

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

Collection Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.myerfran, Series 3

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw98e9a0734-9297-4950-b76a-037c474c7746

EDAN-URL:

ead_component:sova-aaa-myerfran-ref47

Collection Creator:

Myers, Frank Harmon, 1899-1956  Search this

Container:

Folder 3

Type:

Archival materials

Date:

1949

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.

Collection Rights:

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

Collection Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Frank Harmon Myers papers

Frank Harmon Myers papers / Series 3: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d57b6e1b-ad76-49a5-8354-3767432aab14

EDAN-URL:

ead_component:sova-aaa-myerfran-ref72

Collection Creator:

Myers, Frank Harmon, 1899-1956  Search this

Container:

Folder 3

Type:

Archival materials

Date:

1952

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.

Collection Rights:

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

Collection Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

See more items in:

Frank Harmon Myers papers

Frank Harmon Myers papers / Series 3: Printed Materials

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91473cebf-9af7-4cdb-ac9a-f0044fe43468

EDAN-URL:

ead_component:sova-aaa-myerfran-ref73

Creator:

Myers, Frank Harmon, 1899-1956  Search this

Names:

Bunker, John  Search this

Myers, Ella Price  Search this

Extent:

2.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1891-1976

bulk 1908-1960

Summary:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Scope and Contents:

The papers of painter Frank Harmon Myers measure 2.2 linear feet and date from 1891 to 1976, with the bulk of the records dating from 1908 to 1963. The records shed light on the artist's career in Ohio and California through biographical materials, personal and professional correspondence, artwork, printed materials, and photographic materials.

Biographical materials include Myers' resume, letters that confirm some of the courses he studied and taught, one membership list and meeting minutes of the Carmel Art Association, notes from a Myers art lecture on Sante Fe, one sales ledger, and drafts and notes of "And The Glory," a biography on Myers written by his wife, Ella Price Myers. Correspondence is a mixture of personal and professional letters, shedding light on Myers' freidnships, personal and professional relationship with his wife, and his travels. Correspondents include artists Sheldon Dixie and Albert Berne, poet and advertiser John Bunker, Myers' nephew Sheldon, and his son Frank. The series also includes a map that of the United States on which Myers traced his sketching trips, 1926 to 1950, a cartoon by Herman Wessel, and clippings related to John Weis. Printed materials include newspaper and magazine clippings concerning Myers' artwork, career, and exhibitions, a series of advertisements illustrated by Myers, two lithographs of his artwork, and some exhibition ephemera. Artwork consists of childhood drawings by Myers of Native Americans, holiday themes, and portraits; later sketches, mostly in charcoal and pencil, include figure and portrait studies, city scenes, and several still lifes; one 1916 landscape painting by Myers, cloth with a linoleum block design, paint samples from Myers' studio, and small sketches and doodles drawn on scraps of paper. Photographic materials depict Myers' artwork, portraits of the artist, his family and friends, and his home in Pacific Grove.

A fair amount of the collection's files include notes with contextual information written by Ella Price Myers.

Arrangement:

The collection is arranged as five series.

Series 1: Biographical Materials, 1891-1976 (Box 1; .2 linear feet)

Series 2: Correspondence, 1921-1973 (Box 1-2; 1 linear feet)

Series 3: Printed Materials, 1924-1963 (Box 2, OV 3; .5 linear feet)

Series 4: Artwork, circa 1908-1956 (Box 2, OV 4; .6 linear feet)

Series 5: Photographical Materials, 1910-1962 (Box 2; 4 folders)

Biographical / Historical:

Frank Harmon Myers (1899-1956) was an impressionist painter and art educator who lived in Cincinnati, Ohio, and Pacific Grove, California. Myers was born in Cleves, Ohio, and moved to Cincinnati around 1907. His interest in art took off prior to his teenage years, illustrating a series of body-length portraits of Native Americans, several landscapes, and art with holiday themes. Myers studied at the Art Academy of Cincinnati under Frank Duveneck, H. H. Wessel, and John Ellsworth Weiss; took a summer course at the Pennsylvania Academy of Fine Arts under Daniel Garber, Hugh Henry Breckenridge, and Joseph Thurman Pearson Jr.; and the School of Fine Arts at Fontainebleau, France, under Jean Despujols and Gourguet. Myers began showing his art at the Closson Galleries circa 1920 and taught at the Art Academy of Cincinnati from 1921 to circa 1941. In 1932, Myers spent a year on sabbatical in Sante Fe, New Mexico, painting animals, people, ranches and farms, villages, and landscapes. He and his wife, Ella Price Myers, moved to Pacific Grove, California, in 1940 so that Myers could pursue painting full-time. His work was frequently exhibited at the Carmel Art Association from this point onwards, with additional solo shows at Pebble Beach Galleries, San Jose State College, M. H. De Young Museum, Crocker Art Gallery, and others. Myers paintings were featured in group exhibitions at The Salon, Paris, Harlow Galleries, New York, St. Louis City Museum, Missouri, Alright Museum, New York, and more. Myers served as president of the Carmel Art Association in 1953.

Separated Materials:

The Archives of American Art also holds one scrapbook of Frank Myers publicity, circa 1925-1945, lent for microfilming on reel D42. Loaned materials were returned to Ella Price Myers and are not described in the collection container inventory.

Provenance:

The collection was donated by Ella Price Myers, Myers' widow, from 1960 to 1974. An addition was donated in 1994 by Myers' daughter-in-law Patricia Clarke Myers, ex-wife of Myers' only son Frank P. Myers.

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:

Educators -- Ohio -- Cincinnati  Search this

Landscape painters -- Ohio -- Cincinnati  Search this

Painters -- Ohio -- Cincinnati  Search this

Painters -- California -- Monterey  Search this

Topic:

Painting, American  Search this

Impressionism (Art) -- United States  Search this

Citation:

Frank Harmon Myers papers, 1891-1976. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.myerfran

See more items in:

Frank Harmon Myers papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9077c2193-4a6b-4502-a980-af9b71db1d43

EDAN-URL:

ead_collection:sova-aaa-myerfran

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 43, Folder 2

Type:

Archival materials

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.2: Charles Lang Freer Letterpress Books, 1892-1910

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc32c9750c2-6a1e-44f9-a85c-78838d98bd20

EDAN-URL:

ead_component:sova-fsa-a-01-ref652

Interviewee:

Benton, Thomas Hart, 1889-1975  Search this

Interviewer:

Cummings, Paul  Search this

Names:

Craven, Thomas, b. 1889  Search this

Ingram, Rex, 1895-1969  Search this

Macdonald-Wright, Stanton, 1890-1973  Search this

Pollock, Jackson, 1912-1956  Search this

Reed, Alma M.  Search this

Robinson, Boardman, 1876-1952  Search this

Stieglitz, Alfred, 1864-1946  Search this

Weichsel, John, 1870-1946  Search this

Extent:

68 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1973 July 23-24

Scope and Contents:

Interview of Thomas Hart Benton conducted 1973 July 23-24, by Paul Cummings, for the Archives of American Art. Benton speaks of his childhood in Missouri and Washington, D.C., working as a newspaper cartoonist, and classes at the Chicago Art Institute (1907-1908) and the Academie Julian in Paris (1908). He discusses the New York art world, painting scenes for silent movies, the "Stieglitz Society," the synchromist and regionalist movements, John Weichsel and the People's Art Guild, teaching at the Art Students League and the Kansas City Art Institute, murals and mural techniques, lithographic illustrations, drawings, and World War II propaganda posters. He recalls Thomas Craven, Rex Ingram, Stanton Macdonald-Wright, Jackson Pollock, Alma Reed, Boardman Robinson, and others.

Biographical / Historical:

Thomas Hart Benton (1889-1975) was a painter and mural painter.

General:

Originally recorded on 2 sound tape reels. Reformatted in 2010 as 4 digital wav files. Duration is 3 hr., 46 min.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Restrictions:

ACCESS RESTRICTED; written permission required.

Occupation:

Painters -- Interviews  Search this

Topic:

Mural painting and decoration -- 20th century  Search this

Regionalism  Search this

Synchromism (Art)  Search this

Muralists -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Wyeth Endowment for American Art.

Identifier:

AAA.benton73

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91e88892f-d7a7-44fb-9f25-57d279ee317c

EDAN-URL:

ead_collection:sova-aaa-benton73

Creator:

Shahn, Ben, 1898-1969  Search this

Names:

Baskin, Leonard, 1922-2000  Search this

Delano, Jack  Search this

Evans, Walker, 1903-1975  Search this

Osborn, Robert Chesley, 1904-1994  Search this

Rivera, Diego, 1886-1957  Search this

Robbins, Jerome  Search this

Soyer, Raphael, 1899-1987  Search this

Extent:

25.1 Linear feet

Type:

Collection descriptions

Archival materials

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Date:

1879-1990

bulk 1933-1970

Summary:

The papers of social realist painter, photographer, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Scope and Contents note:

The papers of social realist painter, photographer, illustrator, printmaker, and teacher Ben Shahn (1898-1969) measure 25.1 linear feet and date from 1879-1990, with the bulk of the material dating from 1933-1970. The bulk of the collection consists of over 14 linear feet of incoming letters from artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Also found are biographical materials, project and source files, printed material, artwork by Shahn and others, photographs taken of and by Shahn, interview transcripts, sound recordings of interviews and a motion picture film.

Biographical material and family records include a 1924 passport for Shahn and his first wife, Tillie, biographical sketches of Shahn, and award certificates received by him.

Letters are primarily written to Shahn from family members, artists, writers, colleagues, publishers, art organizations, galleries, and universities and colleges. Notable correspondents include Leonard Baskin, Alexander Calder, Dorothea Lange, Walker Evans, Joseph Hirsch, Leo Lionni, John Bartlow Martin, George and Marian Nakashima, Clifford Odets, Charles Olson, Robert Osborn, Diego Rivera, Jerome Robbins, Selden Rodman, James Thrall Soby, Raphael Soyer, and William Carlos Williams. A small number of scattered letters from Shahn can also be found throughout the series.

Project files document approximately twenty-one of Shahn's commissions, including murals for the community center at Jersey Homesteads, the Bronx Central Annex Post Office, the Social Security Building in Washington D.C. , and the William E. Grady Vocational High School. The files also document his involvement in the Franklin Delano Roosevelt Memorial in Roosevelt, in addition to projects for schools, temples and private homes.

Financial and legal records include consignment records, loan agreements, royalty statements and receipts for artwork sold.

Notes and writings are by Shahn and others including Alan Dugan, W. H. Ferry, Theodore Gusten, and John Bartlow Martin. They include lists of artwork, many of which are annotated.

Artwork includes a sketchbook and several unbound sketches and lettering by Shahn, in addition to drawings and prints by others including Shahn's children, Mario Casetta and Stefan Martin.

Source files contain printed material and photographs relating to topics depicted by Shahn in his artwork such as children, dams, farming, houses, industry, mines and miners, slums, war and workers. These files also contain scattered photographic prints by FSA and OWI photographers including Shahn, Jack Delano, Walker Evans, Dorothea Lange, Russell Lee, Carl Mydans, Marion Post Wolcott, Arthur Rothstein, and John Vachon.

Printed material includes news clippings covering Shahn and his career as well as subjects of interest to Shahn. Also found are exhibition catalogs and announcements for exhibitions for Shahn and others, and reproductions of Shahn's artwork including publications illustrated by him.

Photographs are of Shahn, his family and friends and colleagues including Alexander Calder, Jerome Robbins, Charles Sheeler, David Smith and William Zorach. Also included are photographs taken by Shahn of New York City and for the FSA in the 1930s, as well as photographs of artwork by Shahn. Photographs by others include one photo each by Walker Evans, Dorothea Lange, Russell Lee and Arthur Rothstein.

The collection also contains transcripts of eight radio, television and motion picture interviews of Shahn and a reel of 16mm motion picture film from the BBC-TV program "Monitor," in addition to sound recordings of interviews of Shahn by Tony Schwartz and Arlene Francis. Artifacts include a Christmas greeting in the form of a sock.

Arrangement note:

The collection is arranged as 12 series:

Missing Title

Series 1: Biographical and Family Records, 1879-1984 (Box 1, OV 36; 0.2 linear ft.)

Series 2: Letters, 1929-1990 (Boxes 1-25, 35, 43, OVs 36-38; 14.5 linear ft.)

Series 3: Project Files, 1933-1975 (Boxes 25-26; OVs 36-37; 1.03 linear ft.)

Series 4: Financial and Legal Records, 1934-1988 (Boxes 26-27, 35; 0.81 linear ft.)

Series 5: Notes and Writings, circa 1933-1988 (Boxes 27-28, 43; 1.72 linear ft.)

Series 6: Artwork, circa 1930s-1965 (Boxes 28, 35; 11 folders)

Series 7: Source Files, circa 1900s-1960s (Boxes 28-30, 35; 1.81 linear ft.)

Series 8: Printed Material, 1912-1988 (Boxes 30-33, 35, OV 39; 3.22 linear ft.)

Series 9: Photographs, circa 1900-1969 (Boxes 33-35; 0.86 linear ft.)

Series 10: Interview Transcripts, 1943-1968 (Box 34; 0.25 linear ft.)

Series 11: Audio and Video Recordings, 1959-1968 (Box 34; 0.25 linear ft.)

Series 12: Artifacts, circa 1930s-circa 1960s (Box 34; 2 items)

Biographical/Historical note:

Ben Shahn (1898-1969) was a social realist painter, muralist, printmaker, photographer, illustrator, and educator who worked primarily in Brooklyn, New York and New Jersey. He was most active in the 1930s through the 1950s and worked on several federally funded arts projects, including the Farm Security Administration's photographic documentation project of rural America during the Depression.

Ben Shahn was born in Kovno, Lithuania and immigrated with his family to the United States in 1906 where he settled in Brooklyn, and later Roosevelt, New Jersey, after becoming a naturalized citizen in 1918.

Following an apprenticeship as a lithographer from 1913-1917, Shahn studied at New York University, the City College of New York, and the National Academy of Design from 1919-1922. He married Tillie Goldstein in 1922 and they had two children, Judith and Ezra.

Two years after Shahn's first solo exhibition at the Downtown Gallery in 1930, his Passion of Sacco and Vanzetti, a series of 23 gouaches about the Sacco and Vanzetti trial of the 1920s, was exhibited at the Downtown Gallery to critical and public acclaim. The exhibition marked the beginning of Shahn's reputation as one of the most important social realist painters in America. Shahn's commitment to social and political justice found a natural outlet in mural painting when, in 1933, he was hired to assist Diego Rivera on the labor and industry mural Man at the Crossroads, for New York City's Rockefeller Center. The mural was destroyed amid controversy in 1933 before it was completed, but Shahn had learned much about the art of fresco painting during the project and was inspired by the potential of the mural as a unique art form for presenting life's struggles and stories to a large public audience. Between 1933 and 1937 Shahn worked on various murals for other buildings, including New York's Central Park Casino (circa 1934) and Riker's Island Prison (1934), none of which saw completion. In 1937, however, the Farm Security Administration (FSA) commissioned Shahn to execute a mural for the Community Center in the town of Jersey Homesteads, later Roosevelt, New Jersey, which Shahn completed in 1938. Shahn settled in Jersey Homesteads the following year and remained there for the rest of his life. Other important mural commissions followed for the Bronx Central Post office (1939) and the Social Security Building in Washington DC (1942).

One of Shahn's assistants on the Jersey Homesteads mural was Bernarda Bryson, whom he had met in 1933 when she came to New York to interview Rivera about the Rockefeller Center mural controversy for an Ohio newspaper. Shahn and Bryson became lifetime companions and had three children, Susanna, Jonathan and Abigail, although they did not marry until shortly before Shahn's death in 1969. Shahn and Tillie Goldstein were divorced in 1944.

Shahn had enrolled with the federal Public Works of Art Project in 1934, and between 1935 and 1938 he and Bryson travelled across country as Shahn photographed poverty-stricken areas and documented rural life for the Farm Security Administration (FSA) and the Resettlement Agency. Shahn's interest in photography developed in the early 1930s when, encouraged by his friendship with Walker Evans, he began photographing street scenes and people in New York City. He later used the images as the basis for many of his prints and paintings.

In 1942 Shahn began working for the Office of War Information (OWI) and was instructed to produce posters and pamphlets explaining to citizens the necessities of wartime, such as the need for secrecy and food rationing. Ultimately, only two of Shahn's posters were ever used; the rest were rejected as being too harsh for their intended audience. Shahn later worked for the Congress of Industrial Organization Political Action Committee (CIO-PAC), producing posters for the 1944 campaign to re-elect Roosevelt, who he believed in deeply. He was promoted to director of the CIO's Graphic Arts Division for the 1946 congressional campaign following Roosevelt's death, but that job ended when the election went poorly for the Democratic party.

Shahn returned increasingly to painting and a retrospective of his work was held at the Museum of Modern Art in 1947. He also became more active in academia as an accomplished writer, teacher and lecturer. He received honorary doctorates from Princeton University and Harvard University, and become the Charles Eliot Norton professor at Harvard in 1956. Shahn's Norton lectures were collected and published as the influential The Shape of Content in 1957. He also began to work as a commercial artist for a variety of companies and publications including CBS, Time, Harper's, and the Container Corporation of America. Shahn believed, however, that the artist's ideas and integrity must always be reflected in his commercial art. He refused to compromise on this point and was very selective in his choice of commercial commissions. Shahn illustrated many books and articles, designed sets for stage productions such as New York Export: Opus Jazz, choreographed by Jerome Robbins, and designed mural mosaics for synagogues, universities and private homes.

Since the 1930s Shahn had been represented by Edith Halpert at the Downtown Gallery, but his relationship with her was always contentious on the subject of payments Shahn received for commercial work, and became increasingly so as his income from such sources increased. Finally, in 1968, Shahn wrote to Halpert telling her that after ten years of "an accumulation of ill-feeling, discomfort and recrimination between us" he felt compelled to end their dealer-artist relationship.

By the time of Shahn's break with Halpert his health had begun to fail. He died of a heart attack following surgery in a New York City hospital on March 14, 1969.

Related Archival Materials note:

The Archives of American Art holds four oral history interviews with Ben Shahn: 1964 Apr. 14 interview conducted by Richard K. Doud for the Archives of American Art New Deal and the Arts Project in which Shahn speaks of his travels and work for the Farm Security Administration (FSA) and the American image as portrayed by FSA; 1965 Jan. 17 interview; 1965 Oct. 3. interview conducted by Harlan Phillips for the Archives of American Art New Deal and the Arts Project; and 1968 Sept. 27 interview conducted by Forrest Selvig. Most of these interviews have transcripts available online.

The Archives also holds the Bernarda Bryson Shahn papers, circa 1947-2005, and two oral history interviews with Bernarda Bryson Shahn: 1983 Apr. 29 and 1995 July 3.

Separated Materials note:

The Archives of American Art also holds material lent for microfilming (reel N70-6) including addresses and essays by Shahn, seven royalty statements, and three letters from publishers. Many of the writings found on this reel were included in subsequent donations. All other lent material was returned to the lender and is not described in the collection container inventory.

Provenance:

The Ben Shahn papers were donated to the Archives of American Art in several installments between 1967-1991 by Shahn's widow, Bernarda Bryson Shahn who also lent materials for microfilming in 1969. Jean Shahn, Ben Shahn's daughter-in-law and estate representative, donated additional material in 2018 and 2021.

Restrictions:

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

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

Rights:

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

Occupation:

Painters -- New Jersey -- Roosevelt  Search this

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

Photographers -- New York (State) -- Brooklyn  Search this

Photographers -- New Jersey -- Roosevelt  Search this

Printmakers -- New Jersey -- Roosevelt  Search this

Printmakers -- New York (State) -- Brooklyn  Search this

Educators -- New York (State) -- Brooklyn  Search this

Educators -- New Jersey -- Roosevelt  Search this

Muralists -- New York (State) -- Brooklyn  Search this

Muralists -- New Jersey -- Roosevelt  Search this

Topic:

Social realism  Search this

Genre/Form:

Motion pictures (visual works)

Sketchbooks

Video recordings

Drawings

Sound recordings

Interviews

Citation:

Ben Shahn papers, 1879-1990, bulk 1933-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.shahben

See more items in:

Ben Shahn papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw983b06d9b-dd51-45bc-9b11-09b06a88f6c6

EDAN-URL:

ead_collection:sova-aaa-shahben

Creator:

Radin, Herman T., b. 1878,-  Search this

Subject:

Aikman, Walter Monteith  Search this

Cole, Timothy  Search this

Cram, Ralph Adams, 1863-1942  Search this

Dean, Mallette  Search this

Hopson, William Fowler  Search this

Hunter, Dard  Search this

Kollwitz, Käthe  Search this

Lankes, Julius J.  Search this

Leighton, Clare  Search this

Lewis, Allen  Search this

Mack, Warren Bryan  Search this

Nason, Thomas W. (Thomas Willoughby)  Search this

Nevinson, C. R. W. (Christopher Richard Wynne)  Search this

Pearson, Ralph M.  Search this

Pissarro, Lucien  Search this

Pissarro, Esther  Search this

Plank, George  Search this

Roth, Ernest David  Search this

Ruzicka, Rudolph  Search this

Smith, André  Search this

Smith, Sidney Lawton  Search this

Stone, Wilbur Macey  Search this

Watson, Ernest William  Search this

Watt, William G.  Search this

Weber, Frederick T.  Search this

Wolf, Henry  Search this

Citation:

Herman T. Radin letters, 1911-1944. Archives of American Art, Smithsonian Institution.

Topic:

Prints -- Collectors and collecting  Search this

Art -- Collectors and collecting  Search this

Theme:

Patronage  Search this

Record number:

(DSI-AAA_CollID)9885

(DSI-AAA_SIRISBib)212387

AAA_collcode_radiherm

Theme:

Patronage

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_212387

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.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

Identifier:

AAA.andremmg

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw995f3b4aa-1b0f-46f4-8b5d-e0bf1191a740

EDAN-URL:

ead_collection:sova-aaa-andremmg

Creator:

Hockney, David, 1937-  Search this

Fine, Ruth, 1941-  Search this

Type:

Sound Recording

Date:

undated

Citation:

David Hockney and Ruth Fine. Interview about Gemini G.E.L. with David Hockney, undated. Ruth Fine papers, circa 1929-2016. Archives of American Art, Smithsonian Institution.

Record number:

(DSI-AAA)24440

See more items in:

Ruth Fine papers, circa 1929-2016, bulk 1950s-2016

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_item_24440

Collection Creator:

Kraushaar Galleries  Search this

Container:

Box 1, Folder 8

Type:

Archival materials

Date:

1926

Scope and Contents note:

(Gifford Beal; Emma Louise Story Bellows referencing sales of lithographs by George Bellows; Paul Burlin)

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. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Collection Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

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

Collection Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

See more items in:

Kraushaar Galleries records

Kraushaar Galleries records / Series 1: Outgoing Letters

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9178b7ec1-ffb3-42f2-a85d-ffd1676807e6

EDAN-URL:

ead_component:sova-aaa-kraugall-ref30

Collection Creator:

Holt, Nancy, 1938-2014  Search this

Type:

Archival materials

Date:

circa 1970-2002

Scope and Contents:

Series includes Holt's photos of her projects, including exterior and interior detail shots. Also found is a folder of slides that were labeled as being used for lectures, a folder of slides with brief project descriptions, and slides of project models, drawings, and lithographs.

Additional photographic material can be found in 4.1: Projects by Name.

Collection Restrictions:

The bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Some papers remain closed to researchers including some rolled documents in the unprocessed papers, financial files, and Nancy Holt's annotated library of books.

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.

Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.

Collection Citation:

Nancy Holt Estate records, circa 1900-2014. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.holtnanc, Subseries 1.3

See more items in:

Nancy Holt Estate records

Nancy Holt Estate records / Series 1: Project Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d170895a-b87a-43a6-aa39-978e5206e406

EDAN-URL:

ead_component:sova-aaa-holtnanc-ref458

Collection Creator:

Holt, Nancy, 1938-2014  Search this

Container:

Box 9, Folder 4

Type:

Archival materials

Photographs [31027000927349]

Date:

circa 1970s-circa 1980s

Collection Restrictions:

The bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Some papers remain closed to researchers including some rolled documents in the unprocessed papers, financial files, and Nancy Holt's annotated library of books.

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.

Items created by Nancy Holt and Robert Smithson copyright held by Holt/Smithson Foundation / Licensed by VAGA at Artists Rights Society (ARS), NY. Requests for permission to reproduce should be submitted to ARS.

Collection Citation:

Nancy Holt Estate records, circa 1900-2014. Archives of American Art, Smithsonian Institution.

See more items in:

Nancy Holt Estate records

Nancy Holt Estate records / Series 1: Project Files / 1.3: Project Photographic Material

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95823483f-17cc-4891-90f8-e48c6b5462b6

EDAN-URL:

ead_component:sova-aaa-holtnanc-ref465