The papers of painter James Fitzgerald measure 4.6 linear feet and date from 1905 to 1992. Found within the papers are biographical materials; personal and business correspondence, including fifty-one letters from Rockwell Kent; personal business records; writings; artwork consisting of drawings and 21 sketchbooks; printed material, including a scrapbook of clippings and catalogs; and photographs of Fitzgerald, his family and friends, and his work.
Scope and Contents:
The papers of painter James Fitzgerald measure 4.6 linear feet and date from 1905 to 1992. Found within the papers are biographical materials; personal and business correspondence, including fifty-one letters from Rockwell Kent; personal business records; writings; artwork consisting of drawings and 21 sketchbooks; printed material, including a scrapbook of clippings and catalogs; and photographs of Fitzgerald, his family and friends, and his work.
Biographical materials include certificates, military records, and identification cards and passports. Correspondence is with collectors and friends, including Monhegan residents Anne and Edgar Hubert, Grace Sullivan, and Rockwell Kent. Personal business records include banking, tax, and estate records. Writings consist of Fitzgerald's notebook and notes, essays and recollections of Fitzgerald by friends, and Calvin Hennig's notes on a 1984 posthumous exhibition catalog.
There are loose drawings and 21 sketchbooks of Fitzgerald's artwork. Printed material includes clippings, a clippings scrapbook, exhibition catalogs, and a five-minute video recording describing the holdings of Anne and Edgar Hubert's Fitzgerald art collection. Photographs are of Fitzgerald, his friends and family, residents, travel snapshots, and photographs and slides of his artwork.
Arrangement:
The collection is arranged as 7 series.
Missing Title
Series 1: Biographical Materials, 1918-1971 (2 folders; Boxes 1, 5)
Series 2: Correspondence, 1934-1987 (1.3 linear feet; Boxes 1-2)
Series 3: Personal Business Records, 1948-1972 (0.5 linear feet; Box 2)
Series 4: Writings, 1955-1988 (1.2 linear feet; Boxes 2-3, 5)
Series 5: Artwork, 1930-1969 (1.1 linear feet; Boxes 4-6)
Series 6: Printed Material, 1923-1989 (0.2 linear feet; Box 4)
Series 7: Photographic Material, 1905-1992 (0.3 linear feet; Box 4)
Biographical / Historical:
Painter James Fitzgerald (1899-1971) lived and worked in Monterey, California and Monhegan, Maine and is known for his watercolors of seascapes, animals, and nature.
Born in Milton, Massachusetts, Fitzgerald studied from 1919 to 1923 at the Massachusetts School of Art and from 1923 to 1924 at the Boston Museum of Fine Arts School with Philip Hale, Leslie P. Thompson, and Edmund C. Tarbell. From 1923 to 1928, Fitzgerald took a break from his art studies to travel, sailing and crewing on fishing ships and freighters on the coasts of northern America. During a trip along the West coast in 1928, his travels brought him to Monterey, California where he established a studio and met and became associated with a group including John Cage, Martha Graham, E. F. Ricketts, and John Steinbeck.
From 1936 to 1942, Fitzgerald taught painting in California, then sold his studio the following year to settle in the artists' colony at Monhegan, Maine, which he had first visited in 1923. From 1944 to 1971, Fitzgerald made annual trips to Mt. Katahdin and also formed friendships with other Monhegan residents, including Rockwell Kent and Anne and Edgar Hubert. Fitzgerald died suddenly on the Irish island of Arranmore Ireland, where he had traveled to paint in 1971.
Provenance:
The papers were donated in 1991 by Fitzgerald's literary executors, Anne and Edgar Hubert. Two additional sketchbooks were donated in 2014 by the chairman of the James Fitzgerald Legacy, Robert L. Stahl.
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:
Marine painters -- California -- Monterey Search this
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.
Scope and Contents:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.
Artists that Woodward corresponded with and collected letters from include Ernest L. Blumenschein, Harrison Cady, Robert Henri, C. Lewis Hind, Rockwell Kent, John La Farge, Hermann Dudley Murphy, Violet Oakley, Water Pach, Elizabeth Robins Pennell, and Chauncey Foster Ryder, among many others. A significant number of letters in this collection were sent by his brother, marine painter Stanley, during his service in both World Wars.
Arrangement:
The collection is arranged as 6 series.
Missing Title
Series 1: Correspondence and Collected Letters, 1823-1963 (2.2 linear feet; Box 1-3)
Series 2: Biographical Material, 1918 (1 folder; Box 3)
Series 3: Writings, circa 1880-1940 (0.1 linear feet; Box 3)
Series 4: Printed Material, circa 1880-1963 (0.4 linear feet; Box 3-4)
Series 5: Photographs, 1910s-1940s (4 folders; Box 4)
Series 6: Scrapbooks, circa 1920-1940 (0.7 linear feet; Box 5, BV 6-7)
Biographical / Historical:
Sidney C. Woodward (1890-1963) was an art critic and editor in Boston, MA. Woodward collected letters and autographs from notable artists, as well as manuscripts relating to art and theater.
Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Stanley, marine painter and illustrator. Woodward was an art critic and editor for the Boston Post, Boston Herald, and Christian Science Monitor; and gallery director of Casson Galleries, and Irving & Casson's art gallery in Boston, MA.
Provenance:
A portion of the collection was purchased by the Archives of American Art from Sidney Woodward in 1963. Additional material was donated in 1975 by Mrs. Sidney C. Woodward.
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:
Art critics -- Massachusetts -- Boston Search this
Gallery directors -- Massachusetts -- Boston Search this
Art historian, museum curator, teacher, and writer; Washington, D.C. Continued studies in Fine Arts at Harvard, receiving his Ph.D. in 1965. Taught at Dartmouth College. Curator at National Gallery of Art.
Provenance:
Donated 1960 by John Wilmerding.
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.
The papers of Eric Hudson and the Hudson family measure 0.9 linear feet and date from 1900-1992. The papers primarily document the career of marine painter Eric Hudson and include biographical material, letters, artworks, printed material, and photographic material.
Scope and Contents:
The papers of Eric Hudson (1864-1932) and the Hudson family measure 0.9 linear feet and date from 1900-1992. The papers primarily document the career of marine painter Eric Hudson and include biographical material, letters, artworks, printed material, and photographic material.
Biographical material consists of a curriculum vitae, a biographical sketch, and a National Academy of Design associate membership certificate for Eric Hudson. Also included is a curriculum vitae for Jacqueline Hudson.
Letters are primarily addressed to Julie Hudson from her friends Michel and Genevieve Toullec (nee Le Doare). One note is from Philip Evergood regarding a painting trip to France. There are also Christmas cards designed or illustrated by artist friends including Jean Bellows, daughter of George Bellows, Harrison Cady, Truman Fassett, Aldro Hibbard, Robert Nisbet, Howard E. Smith, and Frederic Dorr Steele.
Artwork consists of nine sketchbooks, four drawings, and an oil self-portrait by Eric Hudson. Also found is as an oil sketch of Hudson at his easel by Woodhull Adams, and an etching by Reynolds Beal.
Printed material is comprised of clippings, exhibition announcements, catalogs for Eric Hudson, two books, and reproductions of artwork.
Photographic material includes of photographs of Eric Hudson and his friends, Maud Briggs Knowlton and Alice Swett, photos of Jacqueline and Julie Hudson and their friends the Toullecs, 37 artworks by Eric and Jacqueline Hudson presented in an exhibition, slides of artwork and photographs of artwork.
Arrangement:
Due to the small size the the collection, the papers have been arranged as one series.
Biographical / Historical:
Eric Hudson (1864-1932) was a marine painter in New York, New York. Born in Boston, Massachusetts, Hudson studied at the Boston Museum of Fine Arts and at the Academie Julian in Paris, France. He lived on Gramercy Park in New York and maintained a summer studio on Monhegan Island, Maine. Hudson was affiliated with the Ferargil Gallery.
Jacqueline Hudson (1910-2001), daughter of Eric Hudson, was a painter and lithographer. She studied at the School of the National Academy of Design, Art Students League, and at Columbia University.
Julie Hudson, daughter of Eric Hudson and sister to Jacqueline Hudson, was a rare book librarian at Princeton University.
Provenance:
The Eric Hudson and Hudson family papers were donated in 1991 by Julie Hudson, and in 1994 by Jacqueline Hudson, Eric Hudson's daughters.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
School of Practical Art (Boston, Mass.) Search this
Extent:
4 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1869-1975
Scope and Contents:
Correspondence, printed material, photographs, biographical data, and sketchbooks.
REEL 940: Personal and official correspondence with attached explanatory notes by Mrs. Reddie; biographical data and reminiscences; a certificate of award; exhibition material, 1953-1966; reproductions of Reddie's work; clippings; and photographs of Reddie and his work.
UNMICROFILMED: 50 sketches and 5 sketchbooks; ca. 300 photographs of Reddie's work and his family; exhibition catalogs from the MacIvor Reddie Gallery and from the School of Practical Art (now the Art Institute of Boston); and clippings on artists, horses, and various topics.
Biographical / Historical:
Educator, watercolorist, landscape, portrait, marine painter, and gallery owner; Cohasset, Mass. Taught at the School of the Museum of Fine Arts, Boston.
Provenance:
Unmicrofilmed material was donated by Mrs. Elizabeth Reddie, Reddie's wife, 1973. Material on reel 940 was lent for microfilming by her, 1975.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Raleigh, Charles S. (Charles Sidney), 1830-1925 Search this
Extent:
0.2 Linear feet ((39 items on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1877-1969
Scope and Contents:
Autobiographical information, photographs of works of art and others, a sketchbook, clippings, Raleigh's description of his 2 paintings in the Town Hall, Bourne, Mass.
Biographical / Historical:
Marine painter; Boston, Mass.
Provenance:
Donated 1972-1973 by Vesta Braley, relationship to Charles Raleigh not clear.
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:
Marine painters -- Massachusetts -- Boston Search this
Letter to A. I. Dill of the VIRGINIAN PILOT, August 3, 1948, critiquing an illustration of a sailing ship and including three sketches; and an issue (Winter 1979) of THE JOURNAL of the Mariners Museum, Newport News, Virginia containing a reproduction of a lithograph by Grant, "The Seine Boat."
Biographical / Historical:
Marine painter, illustrator; East Gloucester, Massachusetts.
Provenance:
Donated 1979 by Mrs. Louis Jaffe.
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.
REEL 2674: Five sketchbooks, primarily seascapes from Canada, Nova Scotia, and Newfoundland.
REEL 3605: One annotated sketchbook, undated, containing mostly pencil sketches of seascapes; and a scrapbook, containing a letter, a program, a photograph, and clippings of stories, poetry, articles about Bradford's work and obituaries of family members.
Biographical / Historical:
Marine and arctic painter, photographer, and lecturer; Fairhaven, Mass. Studied under Van Beest. Made annual trips to Labrador to paint. Was an associate of the National Academy.
Provenance:
Materials on reel 2674 lent 1982 by Mrs. William Hovey, a distant relative of Bradford. Materials on reel 3605 lent by the Kendall Whaling Museum, 1985.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Reel 3605: Authorization to publish, quote or reproduce requires written permission from Director, Kendall Whaling Museum. 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.
Wyeth, N. C. (Newell Convers), 1882-1945 Search this
Extent:
1 Linear foot ((on 5 microfilm reels))
Type:
Collection descriptions
Archival materials
Place:
Massachusetts -- New Bedford -- Description and Travel
Date:
1903-1964
Scope and Contents:
Correspondence (ca. 900 letters), sketches, photographs, two exhibition catalogs, the manuscript of The Ashley Book of Knots, and miscellany. Much of the correspondence deals with Ashley's research for and the publication of his Yankee Clipper (1926). Among the correspondents are Henriette Wyeth, N.C. Wyeth (a 7 p. letter), Irving R. Wiles, Oliver LaFarge, Maxfield Parrish, Franklin D. Roosevelt, and Booth Tarkington. One charcoal and three pencil sketches (34.8 x 24 cm. or smaller) are of a three mast sailing ship and pedestal for the Delano family cemetery monument designed by Ashley.
A pencil sketch and mechanical reproduction of an ink drawing (28 x 21.5 cm.) are of a map to Ashley's home near New Bedford used as an invitation to a party, 1936. Photographs are of Ashley, Ashley painting, works of art, artists' models, travels, and of a portrait of Ashley by Irving R. Wiles, 1926. Among the photos of Ashley are one taken by Robert H. Davis, ca. 1920's, and one by Sanborn Studio, Delaware, undated.
Biographical / Historical:
Marine painter, writer, illustrator. Dedicated most of his artistic and literary work to the subject of whaling.
Provenance:
Donated by Ashely's widow, Mrs. Stephen Delano, 1972.
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 -- New Bedford Search this
Marine painters -- Massachusetts -- New Bedford Search this
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, his studio, and artwork. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Scope and Content Note:
The papers of marine painter, illustrator, writer and art instructor Stanley Woodward date from 1875-1970, bulk 1905-1970, and measure 6.6 linear feet. Found within the papers are biographical materials, artworks, family and personal correspondence, seventeen diaries, notes, notebooks and other writings, business records, a scrapbook and printed material including exhibition announcements and catalogs; and photographs of Woodward, members of his family, friends, and his studio. Files containing letters, clippings, and photographs concern actresses including Janis Carter, Linda Darnell, Bette Davis, and Eleanor Powell. Writings include drafts of Woodward's book Adventure in Marine Painting.
Biographical material includes miscellaneous accounts of Woodward's life, cards and certificates of membership in various organizations including the Massachusetts Society of the Sons of the American Revolution, the Salmagundi Club, and the Academic Artist Association, military records of his service in both World Wars, and scattered artwork. A file concerning Woodward's portrait of Abraham Lincoln contains letters primarily discussing a reproduction of the portrait in The Boston Globe and the painting's eventual sale, in addition to notes, clippings, an ink drawing, and a photographic negative of the drawing.
Correspondence is between various family members, but also includes letters to Woodward from colleagues including Harrison Cady, Eleanor Parke Custis, Ralph Fabri, Chauncey F. Ryder, and Howard E. Smith. There are also scattered letters from other artists including Gifford Beal, Mary Butler, Gordon Grant, Norman Kent, Hobart Nichols, Thornton Oakley, Edmund Tarbell, and Anthony Thieme. Correspondence primarily concern his painting career, and includes lists of art work and financial material.
Artwork consists of a sketchbook and three sketches.
Files concerning actresses reflect Woodward's life-long friendship with former teenaged neighbor Bette Davis, who later introduced Woodward and his art work to her show business friends. The files contain letters, clippings, and photographs of actresses Janis Carter, Linda Darnell, Bette Davis, Laraine Day, Madaline Lee, Ida Lupino, Eleanor Powell, and Alexis Smith.
Seventeen diaries contain relatively detailed daily entries describing Woodward's art-related activities, experiences during World War II, and various travels, including a trip to Los Angeles to be a house guest of Bette Davis and visit her on the set of the motion picture Elizabeth and Essex. The 1905 diary contains photographs of Woodward's school friends.
Notes, notebooks, and writings include lists of art works, exhibition guest books, and miscellaneous writings by Woodward including drafts of his book Adventure in Marine Painting.
Business records include an auction catalog, account books for the sale of Woodward's book and art work, and miscellaneous receipts. Records of art classes taught by Woodward include lists of participants, accounts of fees paid, and printed advertisements.
A scrapbook containing clippings and exhibition announcements and catalogs illustrates Woodward's early interests and art-related activities.
Additional printed material consists of clippings, copies of the U. S. Air Corps Magazine The Rip Chord for which Woodward did the cover illustrations, prospectuses with annotations of titles and prices of art work, exhibition announcements and catalogs, reproductions of art work, a booklet, and brochures for books and for art schools. Miscellaneous printed material includes reproductions of a photograph of Woodward's father, Frank E. Woodward, and a program for an event honoring Dr. T. Tertius Noble.
Photographs are of Woodward, family members, friends connected with the U. S. Army Air Force including Jack Dempsey, Woodward's studio, and art work. Three albums contain photographs of art classes and Woodward painting outdoors at various locations including Laguna Beach and Palm Springs, California, St. Augustine, Florida, and Rockport, Massachusetts. A third album also contains photographs of notable friends including Janis Carter, Jeanne Craine, Bette Davis, Rita Hayworth, and Gary Merrill.
Arrangement:
The collection is arranged into 10 series. Each series is arranged chronologically.
Missing Title
Series 1: Biographical Material, 1918-1968 (Boxes 1, 8; 15 folders)
Series 2: Artwork, circa 1920s (Boxes 1; 2 folders)
Series 3: Correspondence, 1910-1969 (Boxes 1-3; 2.9 linear feet)
Series 4: Files Concerning Actresses, 1931-1970 (Boxes 4, 8; 0.75 linear feet)
Series 5: Diaries, 1905-1969 (Boxes 4-5; 10 folders)
Series 6: Notes, Notebooks, and Writings, 1915-1969 (Boxes 5, 8; 21 folders)
Series 7: Business Records, 1924-1969 (Boxes 5-6; 15 folders)
Series 8: Scrapbook, 1875-1919 (Box 6; 1 folder)
Series 9: Printed Material, 1916-1970 (Boxes 6-7; 0.75 linear feet)
Series 10: Photographs, 1920-1969 (Boxes 7-8, OV 9; 11 folders)
Biographical Note:
Stanley Wingate Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Sidney, who later became an art dealer and critic.
In 1909, Woodward graduated from Malden High School and the family moved to Wellesley Hills. He studied at the Eric Pape School of Art, the School of the Boston Museum of Fine Arts, and the Pennsylvania Academy of the Fine Arts. He left school to serve in France as a Corporal in the Field Artillery 28th Division during World War I. After the war, he settled in Ogunquit, Maine, and became a free lance illustrator for Collier's and the Christian Science Monitor, where his brother Sidney was art editor.
In 1925, he held his first solo show of marine oils at Casson Galleries, Boston, where his twin brother Sidney was manager. He was encouraged to continue painting the ocean after the entire exhibition sold out.
Woodward married Ruth Brainerd in 1926 and they settled in Newton, Massachusetts, where they were neighbors to a young Bette Davis, who had recently graduated from high school. Woodward maintained contact with the actress for the rest of his life, and through Ms. Davis, he befriended other show business personalities.
During the 1930s, Woodward taught painting at the Woodward Outdoor Painting School of Rockport, Massachusetts, at the University of North Carolina at Chapel Hill, at the Ringling School of Art in Sarasota, Florida, and at the Laguna Beach School in California. In 1937, he established his residence and studio in Rockport, Massachusetts.
Woodward served as an Air Corps captain and director of camouflage training at McChord Field in Tacoma, Washington, during World War II. In 1947, he published a book on painting techniques entitled Adventure in Marine Painting. He was also the author of Marine Paintings in Oil and Water Color.
Woodward was a member of the Chicago Society of Etchers, the Concord Art Association, the Print Makers Society of California, the Boston Society of Water Color Painters, Allied Artists of America, the Guild of Boston Artists, the North Shore Art Association, the American Water Color Society, the Grand Central Galleries Association, and the Rockport Art Association. His work is in the collections of the Boston Museum of Fine Arts, Bowdoin College, Amherst College, Lehigh University, and the Prudential Life Insurance Collection.
Stanley Wingate Woodward died on March 21, 1970 in Gloucester, Massachusetts.
Provenance:
The Stanley Woodward papers were donated in two installments in 1973 by Stanley Woodward's daughter, Patricia Woodward Smith.
Restrictions:
The collection is open for research. Use 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.
