Search Results

Artist:

Andrew Wyeth, American, b. Chadds Ford, Pennsylvania, 1917–2009  Search this

Medium:

Watercolor on paper

Dimensions:

18 X 22 15/16 IN. (45.7 X 56.8 CM.)

Type:

Painting

Date:

(1937)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, The Joseph H. Hirshhorn Bequest, 1981

Accession Number:

86.5811

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

American Contemporary Realism

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2ba2e055c-e0be-40ca-8486-67236365a232

EDAN-URL:

edanmdm:hmsg_86.5811

Artist:

Andrew Wyeth, American, b. Chadds Ford, Pennsylvania, 1917–2009  Search this

Medium:

Watercolor and pencil on paper

Dimensions:

21 5/8 X 29 3/4 IN. (54.9 X 75.5 CM.)

Type:

Painting

Date:

(1950)

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of the Joseph H. Hirshhorn Foundation, 1966

Accession Number:

66.5591

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

American Contemporary Realism

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py2f0940b86-8b81-4ba4-aaec-14ed885d7a73

EDAN-URL:

edanmdm:hmsg_66.5591

Artist:

Constantin Brancusi, French, b. Hobitza, Romania, 1876–1957  Search this

Medium:

Marble

Dimensions:

6 3/4 × 10 7/8 × 8 3/8 in. (17.2 × 27.6 × 21.2 cm)

Type:

Sculpture

Date:

1909-1910

Credit Line:

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966

Accession Number:

66.610

See more items in:

Hirshhorn Museum and Sculpture Garden Collection

School:

European Modernism (Early 20th century)

Data Source:

Hirshhorn Museum and Sculpture Garden

GUID:

http://n2t.net/ark:/65665/py251dd9189-0684-412e-ac43-018143001a7b

EDAN-URL:

edanmdm:hmsg_66.610

Artist:

George Peter Alexander Healy, 15 Jul 1813 - 24 Jun 1894  Search this

Sitter:

Henry Clay, 12 Apr 1777 - 29 Jun 1852  Search this

Medium:

Oil on canvas

Dimensions:

76.2cm x 63.5cm (30" x 25"), Accurate

Type:

Painting

Date:

c. 1845

Topic:

Henry Clay: Male  Search this

Henry Clay: Law and Law Enforcement\Lawyer  Search this

Henry Clay: Politics and Government\Presidential Candidate  Search this

Henry Clay: Politics and Government\US Congressman\Speaker of the House  Search this

Henry Clay: Politics and Government\Cabinet Member\Secretary of State  Search this

Henry Clay: Politics and Government\US Congressman\Kentucky  Search this

Henry Clay: Politics and Government\State Legislator\Kentucky  Search this

Henry Clay: Politics and Government\US Senator\Kentucky  Search this

Portrait  Search this

Credit Line:

National Portrait Gallery, Smithsonian Institution; transfer from the National Gallery of Art; gift of the A.W. Mellon Educational and Charitable Trust, 1942

Object number:

NPG.65.44

Restrictions & Rights:

CC0

See more items in:

National Portrait Gallery Collection

Data Source:

National Portrait Gallery

GUID:

http://n2t.net/ark:/65665/sm4778d0786-b942-485d-a8f5-e021496dc829

EDAN-URL:

edanmdm:npg_NPG.65.44

Author:

Amon Carter Museum of Western Art  Search this

Clark, Carol 1947 July 21-  Search this

Physical description:

56 pages illustrations (some color) 25 cm

Type:

Exhibitions

Exhibition catalogs

Place:

United States

Date:

1978

Topic:

Impressionism (Art)  Search this

Realism in art  Search this

Art, American  Search this

Fuller, William Marshall--Art collections  Search this

Call number:

N6510.5.I4 A47 1978X

N6510.5.I4A47 1978X

Data Source:

Smithsonian Libraries

EDAN-URL:

edanmdm:siris_sil_115380

Creator:

Daingerfield, Elliott, 1859-1932  Search this

Extent:

172 Items ((partially microfilmed on 2 reels))

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1868-1976

Scope and Contents:

Writings, sketchbooks, sketches, and printed material.

REEL 3615: A typescript of Part I of Daingerfield's autobiography, "Beginnings" (40 p.); an 8 p. biographical sketch; and two family histories; a 1913 inventory of paintings by various artists owned by Daingerfield; directions and a sketch for constructing a sundial; and two poems by Frederic Fairchild Sherman based on Daingerfield's paintings.

Also included are five sketchbooks and one watercolor sketch for the mural, "Epiphany"; a steel engraving by John Sartain; exhibition catalogues, 1919-1984, from Vose Galleries, Henry Reinhardt and Son, Milch Galleries, Macbeth Gallery, Grand Central Art Galleries, and others; clippings and other printed material about Daingerfield, his art, and his North Carolina house; and photographs of Daingerfield, his students, his friends, his North Carolina house, and his art.

REEL 4909 (fr. 983-1022) A photocopy of Part II of Daingerfield's autobiography "Part II, New York" (38 p.)

Biographical / Historical:

Landscape painter, painter, illustrator, writer; NYC. In 1880 Daingerfield moved to New York City, where he studied under George Inness, whose studio adjoined his. Author of books on Inness, Ryder and Blakelock.

Provenance:

Material on reel 3615 was lent for microfilming by Dr. Robert Coggins, 1985. The typescript on reel 4909, donated by Joseph D. Dulaney, Elliott Daingerfield's grandson, was discarded after microfilming in 1994.

Restrictions:

The Archives does not own the originals. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

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

Landscape painters -- New York (State) -- New York  Search this

Topic:

Artists' writings  Search this

Mural painting and decoration -- 20th century -- New York (State) -- New York  Search this

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

Genre/Form:

Sketchbooks

Identifier:

AAA.dainelli

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9abae1c7d-43a2-4e1c-87fa-1b77661e2928

EDAN-URL:

ead_collection:sova-aaa-dainelli

Creator:

Hawthorne, Charles Webster, 1872-1930  Search this

Hawthorne, Marion Campbell  Search this

Names:

Beachcombers (Organization)  Search this

Cape Cod School of Art  Search this

Macbeth Gallery  Search this

Campbell, Harry N.  Search this

Gellatly, John, 1853-1931  Search this

Morrow, Julie Mathilde  Search this

Polasek, Albin, 1879-1965  Search this

Stillman, Joy  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Photographer:

Geiger, Caroline  Search this

Extent:

2.2 Linear feet ((partially microfilmed on 6 reels))

Type:

Collection descriptions

Archival materials

Date:

1870-1983

Scope and Contents:

Correspondence of Charles and Marion Hawthorne, their son Joseph and his wife Hazel Hawthorne; photographs of Hawthorne family and Cape Cod School of Art; printed material; exhibition records; diary pages; and a drawing reflect activities of influential painting instructor Charles Hawthorne, his school, the Cape Cod School of Art, and publications by his wife and son about him.

REEL D38: The correspondence includes letters from Europe, 1898 and later letters pertaining to the Cape Cod School of Art, ca. 1910-1930. Among the photographs are two of Hawthorne instructing an art class, one of artists' model Joy Stillman, 1927, one of Hawthorne's home, which he used as a studio, one of his student Julie Morrow de Forest, and one of a bust of Hawthorne by Albin Polasek. Also found are research files on Charles by Joseph, Hawthorne, ca. 1961, and printed material from Provincetown Art Association and American Academy of Art.

REEL 1435: 114 photographs, 1870's-1930, of Hawthorne, his family, friends (including William Paxton and Abbott H. Thayer), art classes, models, his studio, home and views of Provincetown. In addition there are an etching by Marion C. Hawthorne; a memorial catalog; a photographic self-portrait, and a printed reproduction.

REEL 2788: 35 photographs, including Charles and Marion Hawthorne, their residence, classes taught by Charles Hawthorne, Provincetown, Mass.; and a study for a painting by Joy Stillman, a student of Charles Hawthorne. Also included are 4 printed announcements for classes.

REELS 2884-2885: Pages from Marion C. Hawthorne's diary, 1911 and 1928-1929; letters from Marion to her parents and correspondence between Charles and Marion, and with Joseph, undated and ca. 1900-1932; letters from the Macbeth Gallery, ca. 1909-1923; a letter from John Gellatly, 1907; a copy of a letter from Abbott H. Thayer, 1916; and letters from others. Some of the letters are annotated by Joseph Hawthorne.

REEL 5113: Biographical material on Charles and Marion Hawthorne; correspondence, 1902-1978; financial records, 1901-1902 and 1928-1930; photographs of the Hawthorne family and the Cape Cod School of Art, ca. 1899-1930s, newspaper clippings, ca. 1918-1984; writings on Charles by Marion and Joseph; a drawing of Charles, 1907; price lists for jewelry, undated; a notebook kept by Harry N. Campbell, director of the Cape Cod School of Art, regarding art supplies for the school; biographical studies about Charles by Joseph, ca. 1980's; lists of names and addresses by Marion; and exhibition catalogs and Cape Cod School catalogs, 1913 and 1926.

UNMICROFILMED: Photographs and slides of Hawthorne's work, including photos from an album attributed to Peter A. Juley. Among the photos is one of Charles taken by Carolyn Geiger, ca. 1928 (a similar copy is filmed reel D38, fr. 306-307); and a chronological list of Hawthorne's correspondence in an unknown hand; and miscellaneous correspondence.

Biographical / Historical:

Painters; Provincetown, Mass.; Marion, b. 1870, d. 1945; Charles, b. 1872, d. 1930. Hawthorne founded the Cape Cod School of Art in 1899. He studied with William Merritt Chase at Chase's Shinnecock school in 1896. Marion C. Hawthorne was a member of the National Association of Women Painters and Sculptors.

Provenance:

Material on reels D38, 2788 and 2884-85 was lent for microfilming in 1961 and 1982 by Joseph Hawthorne, son of Marion and Charles Hawthorne. Joseph later donated the previously microfilmed material in 1993, except for majority of frames 1-51 and all of frames 975-1923 on reel D38 which he retained. The material on reel 1435 was lent for microfilming in 1978 by the Provincetown Art Association and Museum, which had received it from Joseph Hawthorne. Hazel Hawthorne, Joseph's widow, donated additional material, reel 5113 and unfilmed, in 1995.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

Painters -- Massachusetts  Search this

Art students  Search this

Painters -- Massachusetts -- Provincetown  Search this

Topic:

Painting, American  Search this

Painting -- Study and teaching  Search this

Artists' models -- Photographs  Search this

Women artists  Search this

Women painters  Search this

Identifier:

AAA.hawtchar

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f68a5147-b3ab-40f0-995f-47df539b8242

EDAN-URL:

ead_collection:sova-aaa-hawtchar

Creator:

Greacen, Edmund W., 1876-1949  Search this

Names:

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

National Arts Club (New York, N.Y.)  Search this

Extent:

1.2 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Etchings

Photographs

Sketches

Date:

1987-1972

bulk 1905-1949

Summary:

The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.

Scope and Contents:

The papers of American Impressionist painter Edmund Greacen measure 1.2 linear feet and date from 1897-1972, bulk 1905-1949. The collection consists of biographical information and correspondence both personal and professional in nature, pertaining to his career as well as Greacen's various affiliations including the National Academy of Design, the National Arts Club, the Manhattan School of Art, and the Grand Central School of Art. Writings by Greacen, including an essay, "The Origins of Landscape Painting," and an unpublished book titled "Logic in Drawing" elucidate his perspective on art traditions and art education. There are works of art including pencil drawings and drypoint etchings, as well as photographs depicting portraits of the artist, group portraits documenting Greacen's various academic and professional affiliations, and reproductions of works of art. Also included exhibition catalogs, brochures, and other printed material.

Arrangement:

The collection is arranged in five series:

Series 1: Biographical and Professional (Box 1, Box 3) Series 2: Correspondence (Boxes 1-2) Series 3: Writings (Box 2) Series 4: Photographs (Boxes 2-3) Series 5: Artwork (Box 3, OV 4)

Biographical / Historical:

Edmund William Greacen (1876-1949) was an American Impressionist painter born in New York City. Greacen traveled extensively throughout Europe early in his career, which afforded him the opportunity to exhibit his work in Paris, and participate in the international art scene both abroad and in New York City. He is particularly known for his oil paintings on canvas and board depicting both human subjects and landscapes. In 1922 he was awarded the Samuel T. Shaw Prize from the Salmagundi Club following his solo show at the Macbeth Gallery. During his career, he was an active member of the Salmagundi Club, the National Academy of Design, and the National Arts Club where he served as Arts Committee Chair. He helped found the Manhattan School of Art as well as the Grand Central School of Art in 1923, and he served as director of both. He was also a member of the Old Lyme Art Colony of American Impressionists at Old Lyme, Connecticut.

Provenance:

The Edmund Greacen papers were donated to the Archives of American Art in 1971 by Mrs. Edmund Greacen, Jr., daughter-in-law of Edmund Greacen, and in 2017 by Elizabeth G. Knudsen, granddaughter of Edmund Greacen.

Restrictions:

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

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

Topic:

Art, American  Search this

Art -- Study and teaching  Search this

Drawing  Search this

Impressionism (Art)  Search this

Landscape painting  Search this

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

Genre/Form:

Drawings

Etchings

Photographs

Sketches

Citation:

Edmund Greacen papers, 1897-1972, bulk 1905-1949. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.greaedmu

See more items in:

Edmund Greacen papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9401d0077-9e53-473d-aa61-aa42f4f180b0

EDAN-URL:

ead_collection:sova-aaa-greaedmu

Collection Creator:

Ireland, Leroy, 1889-1970  Search this

Container:

Box 1, Folder 80

Type:

Archival materials

Date:

1952-1962

Collection Restrictions:

Use of original papers requires an appointment.

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:

Leroy Ireland research material on George Inness, 1916-2007, bulk 1960-1971. Archives of American Art, Smithsonian Institution.

See more items in:

Leroy Ireland research material on George Inness

Leroy Ireland research material on George Inness / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw91b9972a0-9e02-484e-9278-f1cfc4b73fbc

EDAN-URL:

ead_component:sova-aaa-irellero-ref94

Creator:

Glackens, Ira, 1907-1990  Search this

Names:

Delaware Art Museum  Search this

Kraushaar Galleries  Search this

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

National Portrait Gallery (Smithsonian Institution)  Search this

Williams College. Museum of Art.  Search this

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

Barnes, Laura L., 1875-1966  Search this

Buckley, Charles E.  Search this

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

Dimock, Ira  Search this

Fitzgerald, Irene Dimock  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Kuhn, Walt, 1877-1949  Search this

Liff, Vivian  Search this

Luks, George Benjamin, 1867-1933  Search this

Morse, Stearns  Search this

Perlman, Bennard B.  Search this

Prendergast, Eugénie  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Schwab, Arnold T.  Search this

Shinn, Everett, 1876-1953  Search this

Sloan, Helen Farr, 1911-2005  Search this

Extent:

2.3 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Sound recordings

Writings

Date:

circa 1900-1990

Summary:

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

Scope and Content Note:

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

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

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

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

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

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

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

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

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

Arrangement:

The collection is arranged as 8 series.

Missing Title

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

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

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

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

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

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

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

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

Biographical Note:

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

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

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

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

Related Materials:

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

Separated Material:

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

Provenance:

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

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

Illustrators -- Pennsylvania -- Philadelphia  Search this

Authors -- Pennsylvania -- Philadelphia  Search this

Painting, American  Search this

Eight (Group of American artists)  Search this

Art -- Collectors and collecting  Search this

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

Painters -- Pennsylvania -- Philadelphia  Search this

Genre/Form:

Photographs

Sound recordings

Writings

Citation:

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

Sponsor:

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

Identifier:

AAA.glacwill

See more items in:

Ira and William Glackens papers

Archival Repository:

Archives of American Art

GUID:

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

EDAN-URL:

ead_collection:sova-aaa-glacwill

Collection Creator:

Gilder, Dorothea  Search this

Extent:

(Box 2; 2 folders)

Type:

Archival materials

Date:

1897-1910, undated

Scope and Contents note:

This series contains newspaper clippings and exhibition catalogs. Clippings from 1903 are reviews of Beaux's 1903 exhibition at Durand-Ruel Gallery, and an undated anecdote related to Beaux overheard in a gallery. Exhibition catalogs are from Beaux's exhibitions at American Art Galleries (1897), Durand-Ruel Gallery (1903), Boston Art Club (1907), Macbeth Gallery (1910), and an undated exhibition of Florence Scovel Shinn at Kraushaar Galleries.

Collection Restrictions:

The collection has been digitized and is available online via AAA's website.

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:

Dorothea Gilder papers regarding Cecilia Beaux, 1897-1920. 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.gilddoro, Series 2

See more items in:

Dorothea Gilder papers regarding Cecilia Beaux

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94757b4e9-3e3c-4171-bf2e-ffeb8308f01c

EDAN-URL:

ead_component:sova-aaa-gilddoro-ref37

Collection Creator:

Goldthwaite, Anne, 1869-1944  Search this

Extent:

0.3 Linear feet (Box 1, OV 2)

Type:

Archival materials

Date:

1910-1950

Scope and Contents:

The Anne Goldthwaite papers consist of memoirs by Goldthwaite and her grandmother, Olivia; clippings and exhibition catalogs, including catalogs for one woman shows at the Downtown and MacBeth galleries in New York; and an undated watercolor by Goldthwaite. The series also includes photographs of Goldthwaite, her family and friends, and her work, including murals she completed as an artist working for the WPA in the 1930s.

Arrangement:

Materials are minimally arranged by document type.

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. office.

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:

Anne Goldthwaite papers, 1910-1950. 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.goldanne, Series 1

See more items in:

Anne Goldthwaite papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94bae6479-bcd4-4572-96a8-f2736b5ca4ad

EDAN-URL:

ead_component:sova-aaa-goldanne-ref14

Creator:

Doll & Richards (Gallery)  Search this

Names:

Azeez Khayat Gallery  Search this

Kleemann Galleries  Search this

Macbeth Gallery  Search this

Museum of Fine Arts, Boston  Search this

Chetcuti, John  Search this

Freiman, Robert  Search this

Goodrich, Lloyd, 1897-1987  Search this

Haseltine, William Stanley, 1835-1900  Search this

Homer, Winslow, 1836-1910  Search this

Lindenmuth, Tod  Search this

Meyerowitz, William, 1887-1981  Search this

Shepler, Dwight, 1905-  Search this

Verner, Elizabeth O'Neill, 1883-1979  Search this

Woodward, Stanley Wingate, 1890-1970  Search this

Wyeth, Andrew, 1917-2009  Search this

Zoehler, Wendell H., 1907-1989  Search this

Extent:

87.5 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Financial records

Date:

1863-1978

bulk 1902-1969

Summary:

The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. Significant correspondents include John Chetcuti, Robert Freiman, Lloyd Goodrich, Tod Lindenmuth, Macbeth Galleries, William Meyerowitz, Museum of Fine Arts Boston, Stanley Woodward, and Andrew Wyeth, among many others.

Scope and Content Note:

The records of the Doll & Richards gallery of Boston measure 87.5 linear feet and date from 1863 to 1978, with the bulk of the material dating from 1902-1960s. Extensive financial and sales records, inventory records, and correspondence and letter books provide a detailed account of the business operations and sales of the gallery. Also found are notes and research files on artists and paintings, business and legal records, exhibition catalogs, six exhibition scrapbooks, printed materials, and photographs. The bulk of the collection dates from 1902 when the gallery was incorporated and new books were begun. According to gallery employee Wendell Zoehler, many records from the 19th century were discarded and periodically, especially when the gallery moved, other records were discarded.

Incoming and outgoing correspondence documents sales, consignments, appraisals, exhibitions, and inquiries by artists and others to Doll & Richards for over a century. Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others. Additional correspondents include Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Outgoing correspondence is limited to 46 volumes of letterpress copybooks dating from 1930-1967.

Notes and research files primarily consist of compiled information about artists in which Doll & Richards dealt. These include card files related to the provenance of paintings by Winslow Homer and William Stanley Haseltine, and a book about Winslow Homer with notations by Zoehler about the sale of paintings .

Administrative and business records of general daily operations include an address book, meeting minutes, miscellaneous lists and notes, and a large card file of contacts with clients, consignors, artists, and businesses. A detailed description of the gallery's operations by Zoehler is also found here. Legal records include contracts, agreements, certificates of stock, certificates of copyrights, and photocopies of founding documents.

Although there are limited records prior to 1902, the financial records provide comprehensive detail of the gallery's financial transactions from the turn of the century through the early 1970s. Volumes of financial ledgers provide details of artwork bought, sold, and consigned; order forms for sales, framing, restoration, and shipping; gallery expenditures and salaries; records of client purchases; and other affairs. Many of the financial records are indexed and cross-referenced, offering researchers complex but rich documentation. The financial records should be consulted with the numerous inventory records that provide detailed information about the stock of art work held at the gallery. Inventory records also include documentation about the frames held by the gallery from the mid-1880s-1950. The gallery used sometimes complex codes to index and cross reference sales and stock. When known, these codes have been outlined in the more detailed series desciptions below, or filed within the appropriate boxes.

The history of Doll & Richards' exhibitions from the 1880s-1968 are documented in six disassembled bound volumes that contained exhibition catalogs and announcements. There are also additional loose catalogs and announcements. Additional printed materials include newspaper clippings related to exhibitions and the gallery and seven scrapbooks related to Doll & Richards' exhibitions from 1909-1943.

The bulk of the black and white photographs in the collection are of works of art by artists that Doll & Richards exhibited. There are only a handful of photographs of other subject matter, but include images of the gallery spaces at 2 Park Street, 71 Newbury, and 138 Newberry; and of artists.

Arrangement:

The collection is arranged as nine series:

Missing Title

Series 1: Correspondence, 1863-1972, bulk 1930s-1972 (Boxes 1-14; 14 linear feet)

Series 2: Notes and Research Files, 1880s-1978, bulk 1930s-1960s (Boxes 15-16, 78; 1.2 linear feet)

Series 3: Business Records, circa 1866-1978, bulk 1910s-1960s (Boxes 16-18; 1.9 linear feet)

Series 4: Legal Records, 1863-1906, 1941-1962 (Boxes 18, 78; 0.3 linear feet)

Series 5: Financial Records, 1871-1973, bulk 1902-1969 (Boxes 18-69, 79, BV81-112; 55 linear feet)

Series 6: Inventory Records, 1881-1969, bulk 1900s-1940s (Boxes 69-70, BV113-128; 2.3 linear feet)

Series 7: Printed Materials, circa 1880s-1968, bulk 1890s-1960s (Boxes 70-75; 4.9 linear feet)

Series 8: Photographs, circa 1880s-1960s (Boxes 75-78; 2 linear feet)

Series 9: Scrapbooks, 1908-1968, bulk 1908-1943 (Boxes 77, 80; 1.1 linear feet)

The records have been arranged according to the original order maintained by the gallery. Bound volumes containing exhibition catalogs glued to the internal spines have been disbound for preservation and proper housing.

Historical Note:

The Doll & Richards gallery originated in Boston in 1866 as an art gallery and framing shop owned by Charles E. Hendrickson, E. Adam Doll, and Joseph Dudley Richards. The gallery was a well-known Boston establishment for over 100 years that represented William Stanley Haseltine, Winslow Homer, William Morris Hunt, and Andrew Wyeth, among many other notable American painters, sculptors, and printmakers.

In 1870 Hendrickson retired and the gallery became Doll & Richards. After the untimely death of Doll in 1880, Richards purchased Doll's interest in the firm, retaining the gallery's well-known name. Under Richards' direction, the gallery prospered. Richards promoted the works of painter Winslow Homer, developing a market for his watercolors in Boston. He incorporated the gallery in 1902 and served as the treasurer and financier until his death in 1922 at 80 years old. The gallery then reorganized; Arthur McKean, who joined in 1911, became manager, and J.L. (Joe) Richards became treasurer. Fergus Turner, who joined the firm as a salesman in 1885 and became president in 1902, retained his role as president until 1938.

Over the century the gallery showcased contempory American artists, including William Morris Hunt, Dodge McKnight, William Stanley Haseltine, Laura Coombs Hills, Eliot O'Hara, Joseph Lindon Smith, Stanley Woodward, and Andrew Wyeth. The gallery also consigned paintings, prints, and objects from other major art galleries including Azeez Khayat Gallery, Kennedy Galleries, M. Knoedler and Co., Macbeth Gallery, Victor D. Spark, and Victor Waddington Galleries (Dublin, Ireland). According to long-time employee Wendell Zoehler (employed from 1929-1966), Doll & Richards' primary clientele came from the Social Register. In the summer months when wealthy Bostonians typically vacationed outside of the city, Doll & Richards remained open for tourists, many of whom became regular seasonal customers of the gallery.

The gallery experienced financial difficulties in the 1930s, leading to bankruptcy. Doll & Richards was purchased by McKean and incorporated in Maine in 1941. McKean sold Doll & Richards in 1962 to Maurice Goldberg; at this time none of the remaining family or staff were connected with the gallery. In 1973, the gallery was sold to Jeanne and Paul Sylva and closed.

Although the gallery always remained in the vicinity of Boston Common, it relocated numerous times over the years. In 1871 the gallery moved from 28 Summer Street to 145 Tremont Street. In 1878, the gallery remodeled and occupied the entire two-story building at 2 Park Street, renting out the second floor, known as the Hawthorne Room, for lectures. After thirty years on Park Street, Doll & Richards relocated to Newbury Street in 1908, beginning a succession of moves down Newbury Street approximately every twenty years, finally to 172 Newbury Street in 1962.

Related Material:

Among the other resources relating to the Doll & Richards gallery in the Archives of American Art is an oral history interview with Wendell Zoehler conducted by Robert Brown on April 14 and April 27, 1978.

Separated Material:

A daguerroteype of Gaetano Cardinal Bedini received with the records was transferred to the Smithsonian National Portrait Gallery on May 24, 2004.

Provenance:

The Doll & Richards records were donated to the Archives of American Art in numerous accessions between 1973 and 1979 by Jeanne and Paul Sylva, who purchased the gallery in 1973, and by former employee Wendell Zoehler.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Topic:

Art, American  Search this

Function:

Art galleries, Commercial -- Massachusetts

Genre/Form:

Photographs

Scrapbooks

Financial records

Citation:

Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care Fund

Identifier:

AAA.dollrich

See more items in:

Doll & Richards gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9b774b9ae-a4eb-4849-9652-6be121c5142f

EDAN-URL:

ead_collection:sova-aaa-dollrich

Collection Creator:

Doll & Richards (Gallery)  Search this

Type:

Archival materials

Date:

1863-1972

Scope and Contents note:

Significant correspondents include artists John Chetcuti, Robert Freiman, Tod Lindenmuth, William Meyerowitz, Dwight Shepler, Elizabeth O'Neill Verner, Stanley Woodward, Andrew Wyeth, and others; Lloyd Goodrich from Whitney Museum of American Art, Azeez Khayat Gallery, Macbeth Galleries, Kleemann Galleries, and the Museum of Fine Arts in Boston. There is one letter from George Inness (1866). Also found among the correspondence is scattered artwork lists, exhibition price lists, and photographs. Items are arranged in chronological order within each folder.

Collection Restrictions:

Use of original papers requires an appointment.

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:

Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care Fund

Identifier:

AAA.dollrich, Subseries 1.1

See more items in:

Doll & Richards gallery records

Doll & Richards gallery records / Series 1: Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw933144d3a-de91-4d65-a3f0-cc355925b7a7

EDAN-URL:

ead_component:sova-aaa-dollrich-ref17

Collection Creator:

Doll & Richards (Gallery)  Search this

Container:

Box 6, Folder 12

Type:

Archival materials

Date:

1950-1953

Collection Restrictions:

Use of original papers requires an appointment.

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:

Doll & Richards gallery, 1863-1978, bulk 1902-1960s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution's Collections Care Fund

See more items in:

Doll & Richards gallery records

Doll & Richards gallery records / Series 1: Correspondence / 1.2: Alphabetical Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw94a22c315-e670-4242-b4a9-a4b2242c306e

EDAN-URL:

ead_component:sova-aaa-dollrich-ref95

Creator:

Clarke, Thomas B. (Thomas Benedict), 1848-1931  Search this

Names:

Macbeth, William, 1851-1917  Search this

Martin, Homer Dodge, 1836-1897  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1893-1897

Summary:

The Thomas B. Clarke letters from or about Homer Dodge Martin measure 0.2 linear feet and date from 1893-1897. Twenty-two letters from Martin to art collector and patron Thomas B. Clarke, document Martin's work, his financial struggles, and his physical and mental condition in the last 5 years of his life. Additional letters to and from others further illuminate Martin's relationship with Clarke and provide insight into his financial affairs and the increasingly favorable market for the painter's work just prior to and following his death in 1897.

Scope and Content Note:

This collection measures 0.2 linear feet, including 22 letters from Homer Martin to art patron Thomas Clarke, and dates from 1893-1897. Since Martin kept no diaires or sales ledgers himself, the letters are invaluable in understanding his painting, financial struggles, and his physical and mental condition in the last 5 years of his life. Additional letters from Martin's son, Ralph, his wife, Elizabeth, and gallery owner William Macbeth, and a letter from Martin to his friend Montgomery Schuyler, further illuminate Clarke's activities as a dealer and patron of Martin's work, and provide insight into Martin's financial affairs and the increasingly favorable market for the painter's work just prior to and following his death in 1897.

Arrangement:

The collection is arranged as 1 series:

Missing Title

Series 1: Thomas B. Clarke Letters From or About Homer Dodge Martin, 1893-1897 (Box 1; 9 folders)

Biographical Note:

Thomas Benedict Clarke (1848-1931) was a New York prosperous merchant who began collecting American art in the 1870s. Over the course of the next 20 years he actively traded, loaned, and sold artwork through dealers in New York City, outlets in Worcester, Cincinnati and St. Louis, and with artists. He also shared his collection through public and private exhibitions in New York and elsewhere. He earned praise from the critics for being the foremost patron of American painters during the late 1800s and was praised by many painters for his attention to American artists at a time when they considered themselves neglected or ignored.

Hudson River School painter Homer Dodge Martin (1836-1897) was one of the artists for whom Clarke acted as patron. Martin studied briefly with James Hart and spent his summers during the 1860s sketching in the Adirondacks, the Catskills and the White Mountains and then painted landscapes from the sketches he made at his studio in New York City's Tenth Street Studio Building.

In 1876 he took his first trip to Europe and from 1882-1886 lived in Normandy, France. There he was influenced both by the Barbizon school of painting and the Impressionists and his painting took on darker, more melancholy tones.

By 1887 Martin had returned to New York and in 1893 moved to St. Paul, Minnesota. During the 1890s Martin was plagued by ill health and financial struggles. A dead optic nerve in one eye and a cataract in the other, left him close to blindness when he died in February 1897. At the time of his death two of his greatest paintings, Westchester Hills (circa 1887) and Harp of the Winds (1895), remained unsold and another, Adirondack Scenery (1895) had been bought by Clarke for circa $400.

In 1890, Clarke had dissolved his dry-goods partnership, Clarke & King, and announced that he would no longer deal in American pictures except as an agent for George Inness. Clarke opened a showroom known as "Art House" in 1891 on Fifth Avenue in New York City, and began dealing primarily in Oriental porcelains and Greek antiquities. The Martin letters are one source of evidence that Clarke did, however, continue to deal in American art as a private agent through Macbeth Gallery and others. A letter written on Clarke's behalf to Martin dated April 17, 1896, stated that he had contacted Samuel P. Avery on Martin's behalf, and suggested that he consign his paintings to Avery, rather than having Clarke promote them himself.

In January 1899 Clarke announced that he would dispose of his American pictures at auction following a week long exhibition at the American Art Association. In February 1899, 7 of the 10 Homer Martin paintings in Clarke's possession were sold at that auction, including Adirondack Scenery for $5500. Within two years of his death, Martin's Harp of the Winds was acquired by the Metropolitan Museum of Art.

In addition to the Metropolitan Museum, Martin's work can be found in other important American museums including the Addison Gallery of American Art, the Albany Institute of History and Art, the Cleveland Museum of Art, and the Museum of Fine Arts, Boston. He became a member of the National Academy of Design in 1874 and was one of the founders of the Society of American Artists.

Related Material:

The James Stillman letters relating to Homer Dodge Martin have also been digitized and are available online via the Archives of American Art's website. Additional material relating to Homer Dodge Martin, including correspondence with Thomas B. Clarke and Elizabeth Martin, can be found in the Macbeth Gallery records at AAA.

Provenance:

Most of the letters were donated by Charles Feinberg in 1957. Four additional letters were given to the Archives by Irving Burton in 1967.

Restrictions:

Use of original papers requires an appointment.

Rights:

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

Occupation:

Painters  Search this

Topic:

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

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

Art -- Economic aspects  Search this

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

Citation:

Thomas B. Clarke letters from or about Homer Dodge Martin, 1893-1897. 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.clartbhm

See more items in:

Thomas B. Clarke letters from or about Homer Dodge Martin

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw95fc7649e-840e-430e-9726-998d7d21a48a

EDAN-URL:

ead_collection:sova-aaa-clartbhm

Collection Creator:

Eva Lee Gallery  Search this

Container:

Box 2, Folder 33

Type:

Archival materials

Date:

1951-1955

Collection Restrictions:

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

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:

Eva Lee Gallery records, 1921-1973. Archives of American Art, Smithsonian Institution.

Sponsor:

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

See more items in:

Eva Lee Gallery records

Eva Lee Gallery records / Series 1: General Artist Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw984434778-bd5f-43e2-bd1f-8bc2dce4acaf

EDAN-URL:

ead_component:sova-aaa-evalee-ref160

Collection Creator:

Murray, Richard N., 1942-2006  Search this

Container:

Box 3, Folder 39

Type:

Archival materials

Date:

circa 1990s

Collection Restrictions:

Use of original papers requires an appointment.

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:

Richard Murray research material regarding Abbott Handerson Thayer, 1948-2004, bulk 1994-2001. Archives of American Art, Smithsonian Institution.

See more items in:

Richard Murray research material regarding Abbott Handerson Thayer

Richard Murray research material regarding Abbott Handerson Thayer / Series 2: Research Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9c6cddd23-6d81-47a5-870d-181b4a161be9

EDAN-URL:

ead_component:sova-aaa-murrrich2-ref110

Creator:

Lawson, Ernest, 1873-1939  Search this

Names:

Salmagundi Club  Search this

Anderson, Victor C. (Victor Coleman), 1882-1937  Search this

Bensco, Margaret Lawson, 1895  Search this

Brown, George E.  Search this

Grant, Gordon, 1875-1962  Search this

Higgens, Eugene  Search this

Lawson, Ella  Search this

Olinsky, Ivan G. (Ivan Gregorewitch), 1878-1962  Search this

Speicher, Eugene Edward, 1883-1962  Search this

Wiggens, Guy  Search this

Williams, Keith Shaw, 1905-1951  Search this

Extent:

0.5 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1907-1967

Summary:

The scattered papers of painter Ernest Lawson measure 0.6 linear feet and date from 1907 to 1967. The papers consist of family correspondence with daughter Margaret, and between Margaret and her mother Ella Lawson; a dismantled scrapbook containing exhibition announcements, catalogs, and clippings; and a 1937 photograph of a group of artists at a dinner at the Salmagundi Club honoring Lawson along with a photograph of a work of art by Lawson signed by the numerous artists attending the dinner, including Victor C. Anderson, George Elmer Browne, Gordon Grant, Eugene Higgens, Ivan G. Olinsky, Eugene Speicher, Guy Wiggens, and Keith Shaw Williams, among others.

Scope and Contents:

The scattered papers of painter Ernest Lawson measure 0.6 linear feet and date from 1907 to 1967. The papers consist of family correspondence with daughter Margaret, and between Margaret and her mother Ella Lawson; a dismantled scrapbook containing exhibition announcements, catalogs, and clippings; and a 1937 photograph of a group of artists at a dinner at the Salmagundi Club honoring Lawson along with a photograph of a work of art by Lawson signed by the numerous artists attending the dinner, including Victor C. Anderson, George Elmer Browne, Gordon Grant, Eugene Higgens, Ivan G. Olinsky, Eugene Speicher, Guy Wiggens, and Keith Shaw Williams, among others.

Arrangement:

The collection is arranged as 1 series.

Missing Title

Series 1: Ernest Lawson papers, 1907-1967 (0.5 linear feet; Box 1, OVs 2-4)

Biographical / Historical:

Ernest Lawson (1873-1939) was painter active in New York City and member of the group of American early modernist painters known as "The Eight."

Born in Nova Scotia, Canada and raised in Kansas, Ernest Lawson moved to New York City in the 1880s. There, he studied at the Art Students League and studied under John Twachtman. He also studied at the Cos Cob Connecticut summer art school before moving to Paris in 1893 to study at the Académie Julian. While in Paris he also shared a studio with W. Somerset Maugham, who is believed to have used Lawson as the inspiration for the character "Frederick Lawson" in his 1915 novel Of Human Bondage .

Lawson returned to the United States in 1896 and transitioned from his Impressionist style to a Realist style, painting primarily cityscapes. Lawson had his first solo exhibition at the Pennsylvania Academy of the Fine Arts in 1907 and won a prize for a winter landscape. Lawson joined the group painters that would become known as "The Eight," whose members included Robert Henri, William Glackens, John Sloan, George Luks, Everett Shinn, Arthur B. Davies, and William Prendergast. These painters protested that the exhibition system in New York was a closed system that did not welcome change and modern style. In 1908, Macbeth Galleries staged the seminal show of the "The Eight."

Lawson married Ella Holman and they had two daughters Margaret and Dorothy. Lawson tragically drowned in Florida in 1939.

Provenance:

Margaret Lawson Bensco donated her father's papers in 1976. In 1985, Lawson's granddaughter Alice Simon donated the 1937 photograph of artists at the Salmagundi Club and the photograph of a work of art by Lawson signed by numerous artists.

Restrictions:

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

Painters  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Ernest Lawson papers, 1907-1967. 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.lawserne

See more items in:

Ernest Lawson papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9f68d5450-09e9-437f-ac87-773aae6d648f

EDAN-URL:

ead_collection:sova-aaa-lawserne

Collection Creator:

Midtown Galleries  Search this

Container:

Reel 5352, Frame 239-302

Type:

Archival materials

Date:

1935-1952

Collection Restrictions:

The collection is open for research. Patrons must use microfilm copy.

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:

Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution

See more items in:

Midtown Galleries records

Midtown Galleries records / Series 1: Administrative Correspondence / 1.1: General Correspondence

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90bfee644-918c-4492-8b13-032bb5cc7a2b

EDAN-URL:

ead_component:sova-aaa-midtgall-ref3506