The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Scope and Content Note:
The papers of Reginald Marsh (1898-1954) measure approximately 9.3 linear feet and date from circa 1897 to 1955. The collection documents the life and work of the artist, who was best known for his paintings and illustrations depicting scenes of vaudeville, night clubs, burlesque, and New York City. Marsh was a lifelong free-lance illustrator for the New Yorker, Esquire and many other national magazines. Papers include correspondence, diaries, notebooks, sketches, scrapbooks, business and financial papers, and photographs, as well as some biographical and printed material.
Marsh's correspondence is typically with family, friends, artists, colleagues, dealers, government officials, publishers, greeting card companies, admirers and former students. Correspondence concerns both personal and professional matters, documenting his relationships with family and friends and his work on various projects ranging from book illustrations to the murals he executed as part of the Treasury Department Art Program. Diaries include those Marsh kept as an adolescent, those in which he recorded his technique and work on art, and those in which he recorded his daily engagements. Notebooks include ones on art, in which he recorded notes on particular works and on painting techniques, mediums and other processes; ones used as address books and to record notes on travel and art work; and ones on finances, in which he kept track of earnings from his stocks and art, as well as some student notebooks. Diaries and notebooks both document various practical aspects involved in the creation of Marsh's art work.
Sketches include ones on loose sheets and scraps of paper and in sketchbooks, documenting some of the sources and recurrent themes of Marsh's art work, as well as shedding light on Marsh's process of creation. Scrapbooks consist primarily of clippings (illustrations, reviews, reproductions of art work) compiled by Marsh, documenting the publication, exhibition, and reception of his art work. Business and financial papers consist of paperwork (contracts, agreements, statements, receipts, permissions) relating to business matters, practical concerns, and financial aspects involved in handling his various art projects and in exhibiting and selling his art work. Photographs include ones of Marsh's family and friends, the artist at work (sketching around Coney Island and on the streets of New York), and his art work (some of which was compiled into volumes by Marsh and some of which was compiled by Norman Sasowsky).
Also found are limited amounts of biographical material, including juvenilia, official documents, awards and certificates, writings, an appraisal of Marsh's estate, and catalogs of Marsh's art work, and printed material, including exhibition catalogs, clippings, and publications.
Arrangement:
The Reginald Marsh papers are arranged as 9 series:
Missing Title
Series 1: Biographical Material, 1910s-1955 (boxes 1, 11; 0.8 linear feet)
Series 2: Correspondence, 1920-1954 (boxes 1-2, OV 12; 1.2 linear feet)
Series 3: Diaries, 1912-1954 (box 3; 1 linear foot)
Series 4: Notebooks, 1919-1954 (box 4; 0.8 linear feet)
Series 5: Sketches, 1901-1954, undated (boxes 4-5, OV 12-21; 1.4 linear feet)
Series 6: Scrapbooks, 1901-1954, undated (boxes 6, 9-11; 1.5 linear feet)
Series 7: Business and Financial Papers, 1923-1954 (box 6; 0.3 linear feet)
Series 8: Photographs, circa 1897-1908, 1920-1952 (boxes 6-8, 10; 1.3 linear feet)
Series 9: Printed Material, 1931-1955 (boxes 8, 10; 0.2 linear feet)
Biographical Note:
Reginald Marsh was born in Paris on March 14, 1898. His father, Fred Dana Marsh, was a well-known muralist, and his mother, Alice Randall Marsh, was also an artist who painted miniature watercolors. Marsh returned with his family to the United States in 1900 and grew up in Nutley, New Jersey.
After graduating from Yale University in 1920, Marsh moved to New York, where he worked as an illustrator for the New York Evening Post and Herald, Vanity Fair and Harper's Bazaar. Beginning in 1922, he worked as staff artist at the New York Daily News doing a cartoon review of vaudeville and burlesque. During the 1920s, he designed theater curtains for the Greenwich Village Follies and other theater productions, and became one of the original cartoonists at The New Yorker after it was founded in 1925, actively working for the magazine until 1931 and regularly contributing drawings from time to time after that.
In 1923, Marsh married Betty Burroughs, who was the daughter of the curator of painting at the Metropolitan Museum of Art and herself a sculptor. They divorced in 1933, and he married his second wife, Felicia Meyer, a landscape painter, in 1934.
In the early 1920s, Marsh began to study painting and attended classes taught by John Sloan and Kenneth Hayes Miller, among others, at the Art Students League in New York. He made several trips to Europe, once in 1925-1926 and again in 1928, to study the old masters in the museums. In 1929, he began to paint in egg tempera. He also worked in watercolor, painting several large compositions in 1939-1940. In the 1940s, he studied the "Maroger medium" with Jacques Maroger and began to use this emulsion technique in his paintings. In addition to painting, he also worked in lithography, etching, and engraving.
Marsh had his first one-man show of oils and watercolors at the Whitney Studio Club in 1924 and another show of lithographs there in 1928. He had one-man shows of his watercolors at the Valentine Dudensing Galleries in 1927, the Weyhe Gallery in 1928, and the Marie Sterner Galleries in 1929. In 1930, he had his first show of paintings at the Rehn Galleries, where he regularly exhibited for the next two decades.
In 1935 and 1937 respectively, Marsh was commissioned by the Treasury Department Art Program to paint two murals in the Post Office Department Building in Washington, D.C. and a series of murals in the rotunda of the Customs House in New York. Beginning in 1935, Marsh taught drawing and painting at the Art Students League. In the summer of 1946, he was guest instructor at Mills College, Oakland, California, for six weeks. In 1949, he was appointed head of the Department of Paintings at Moore Institute of Art, Science, and Industry, Philadelphia and taught advanced painting there in 1953-1954.
Beginning in the mid-1930s, some of Marsh's art work began to be reproduced on greeting cards issued by the American Artists Group and Living American Art, Inc. He also did illustrations for editions of Theodore Dreiser's Sister Carrie (1938), John Dos Passos's USA (1945) and Adventures of a Young Man (1946), and Mark Twain's The Prince and the Pauper (1946), among others. He continued to do freelance illustrations for magazines, including Esquire, Fortune, and Life. Notably, he served as an artist correspondent for Life during the Second World War, and traveled to Brazil in 1943 to draw the army installations there.
Marsh was the recipient of various awards throughout his career, including the M. V. Kohnstamm Prize from the Art Institute of Chicago in 1931, the First W. A. Clark Prize and Corcoran Gold Medal from the Corcoran Gallery of Art, Washington, D.C., in 1945, and the Gold Medal for Graphic Arts of the National Institute of Arts and Letters in 1954.
Marsh died of a heart attack in Dorset, Vermont on July 3, 1954.
This biographical note draws heavily from information originally printed in the catalogue of the Reginald Marsh Retrospective Exhibition organized by the Whitney Museum in 1955.
Related Material:
The Archives holds several collections of different provenance that relate to Reginald Marsh, including Felicia Meyer Marsh and Meyer Family Papers (available on reels 2082, 2087-2090, and 4474-4475), Fred Dana Marsh illustrated letters (available on reel 3134), Norman Sasowsky Research Material on Reginald Marsh (partially available on reels 1195 and 1463-1464), and Reginald Marsh Printed Material, consisting of two yearbooks from Lawrenceville School donated by Alvin Macauley who was a classmate of Marsh (not available on microfilm). In addition, a portion of the materials loaned and microfilmed in 1963 on reel NRM 19, including several small paintings, are housed in the Pierpont Morgan Library.
Separated Material:
The Archives of American Art also holds material lent for microfilming. Some of the material loaned for microfilming in 1963, including the bulk of Marsh's sketchbooks and some anatomy sketches, was subsequently donated to the Metropolitan Museum of Art, New York Public Library, and Whitney Museum of American Art. Other loaned material, including several small paintings, was from the Pierpont Morgan Library. Most of the files of clippings that were donated to AAA with Marsh's papers were transferred to the Smithsonian American Art Museum and National Portrait Gallery Library in 1979. Even though this material is not technically part of the collection housed in AAA, copies are available on microfilm reels NRM3-NRM17 (sketchbooks and sketches), NRM 19 (material from the Pierpont Morgan Library), NRM 20 (small paintings), and 2233-2234 (clippings). A portion of the material donated to AAA with the Reginald Marsh papers has been separated to create a new collection of Felicia Meyer Marsh and Marsh Family papers. Loaned and transferred material is not described in this finding aid.
Provenance:
A large portion of the Reginald Marsh papers, including diaries, notebooks, sketchbooks, and photograph albums, was lent for microfilming in 1963 by Marsh's wife, Felicia Meyer Marsh. Some, but not all, of this material was subsequently donated to AAA in 1979, after the death of Mrs. Marsh, along with some additional material, including notebooks, scrapbooks, biographical and printed material. Another portion of the collection, comprised mainly of correspondence and a catalog of Marsh's art work, was donated in 1964. Three items of Marsh juvenilia were donated in 1984 by Alice Heffernan. Sketches that Mrs. Marsh bequeathed to the Whitney Museum were donated to AAA by the museum in 1987, along with 5 sketchbooks previously lent. Later gift portions were microfilmed.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized 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:
Etchers -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
Illustrators -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
1.4 Linear feet ((partially microfilmed on 2 reels))
Type:
Collection descriptions
Archival materials
Date:
1903-1957
Scope and Contents:
Personal and research correspondence, artwork; writings; and photographs.
Correspondence consists of eight letters from McIntyre's uncle, William Macbeth, regarding business at the Macbeth Gallery, 1909; letters of condolence upon the death of Robert Macbeth, 1940; a letter to McIntyre from Francis Peabody Colburn enclosing a photograph of himself; letters from Jon Corbino and from William James, both with photographic portraits; a letter to Benhaim Newhouse from Albert Rosenthal about Henry Inman; research correspondence for MARTIN JOHNSON HEADE (1949), 1944-1950; correspondence with McIntyre's mother, wife and relatives, 1903-1930; and correspondence with E.P. Richardson concerning various donations made to the Archives of American Art. Art work includes 3 sketchbooks, ca. 1946-1957, containing pencil sketches of Vermont and other locales, and a watercolor sketch. Photographs include snapshots of McIntyre with family and friends, one photograph each of Felicia Meyer Marsh, (wife of Reginald Marsh), Maud Morgan, and Morgan's husband Patrick Morgan, all circa 1940. Writings include typescripts of articles; lectures and notes; and material on portraits by Gilbert Stuart.
Biographical / Historical:
Art dealer and art historian, New York, N.Y. President and director of the Macbeth Gallery and nephew of William Macbeth.
Provenance:
Donated incrementally between 1955-1962 by McIntyre and the McIntyre Estate.
Occupation:
Art dealers -- New York (State) -- New York Search this
The papers of painter Felicia Meyer Marsh and the Meyer family measure 4.9 linear feet and date from circa 1880 to 1977. The collection is comprised of biographical materials including family business records, writings by Marsh, and other family documents; and Marsh's correspondence with her husband Reginald Marsh, her parents Herbert and Anne Meyer, and with numerous artists such as Peggy Bacon, Alexander Brook, Olin Dows, Philip Evergood, Lloyd Goodrich, Edward Hopper, George Tooker, and Andrew Wyeth after her husband's death in July 1954. Also found are 24 diaries belonging to Marsh and her parents; printed materials documenting the art careers of Marsh and Herbert Meyer; artwork including 20 sketchbooks; and photographic materials containing 19th and 20th-Century photographs of Felicia and Reginald Marsh, the Meyer family, and friends.
Scope and Contents:
The papers of painter Felicia Meyer Marsh and the Meyer family measure 4.9 linear feet and date from circa 1880 to 1977. The collection is comprised of biographical materials including family business records, writings by Marsh, and other family documents; and Marsh's correspondence with her husband Reginald Marsh, her parents Herbert and Anne Meyer, and with numerous artists such as Peggy Bacon, Alexander Brook, Olin Dows, Philip Evergood, Lloyd Goodrich, Edward Hopper, George Tooker, and Andrew Wyeth after her husband's death in July 1954. Also found are 24 diaries belonging to Marsh and her parents; printed materials documenting the art careers of Marsh and Herbert Meyer; artwork including 20 sketchbooks; and photographic materials containing 19th and 20th-Century photographs of Felicia and Reginald Marsh, the Meyer family, and friends.
Arrangement:
The collection is arranged as six series.
Series 1: Biographical Material, 1907-1976 (Box 1; 0.2 linear feet)
Series 2: Correspondence, 1903-1977 (Box 1; 0.8 linear feet)
Series 3: Diaries, 1914-1953 (Box 1-3; 1.4 linear feet)
Series 4: Printed Material, 1931-1977 (Box 3, OV 13; 0.2 linear feet)
Series 5: Artwork, 1892-1977 (Box 3-6, OVs 7-13; 1.5 linear feet)
Series 6: Photographic Material, circa 1880-1976 (Box 4-5, OV 14; 0.8 linear feet)
Biographical / Historical:
Felicia Meyer Marsh (1912 or 1913-1978) was a painter in Dorset, Vermont and was married to artist Reginald Marsh from 1934 until his death on July 3, 1954.
Marsh was born in New York City to artists Herbert and Anne Norton Meyer. She studied at The Finch School, the Art Students League, and in Paris, France. Marsh was known for her landscapes of Vermont where she spent time during her youth and much of her time as an adult when she was not in New York City. In addition to landscapes, Marsh also painted portraits, figures, cityscapes, interiors, and nature scenes.
In her early career, Marsh showed her work in group exhibitions during the 1930s and 1940s. She held several solo exhibitions from the 1940s until 1974 at the Wakefield Gallery, Macbeth Gallery, Frank K.M. Rehn Gallery, and others.
Marsh died in 1978 in New York City.
Provenance:
The Felicia Meyer Marsh and Meyer family papers were donated in 1979 by the Felicia Meyer Marsh estate via executor Elizabeth Barlett Sturges, friend of Marsh. Other material was transferred from the Reginald Marsh papers in 2005.
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.
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehns personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York City art gallery devoted to American painting.
Scope and Content Note:
The Frank K. M. Rehn Galleries records measure 21.8 linear feet and are dated 1858-1969 (bulk 1919-1968). The records consist mainly of business correspondence with collectors, artists, museums and arts organizations, colleagues, and others. A small amount of Frank K. M. Rehn's personal correspondence and a few stray personal papers of individual artists are interfiled. Also included are financial records, scrapbooks, printed matter, miscellaneous records, and photographs documenting most of the history of a highly regarded New York art gallery devoted to American painting.
Series 1: Correspondence contains correspondence with artists, museums and arts organizations, collectors, colleagues, and others documents the workings of Rehn Galleries from its earliest days through 1968. A small amount of Frank K. M. Rehn's personal correspondence and a few scattered personal papers of individual artists are interfiled with the business correspondence.
Series 2: Financial Records includes banking, insurance, and investment records, tax returns and related documentation, miscellaneous financial records and paid bills. Among the insurance records are detailed monthly schedules listing paintings with titles, artists, and insurance values. Miscellaneous financial records include inventories of gallery stock, notes regarding business expenses and income, and receipt books recording incoming paintings. Also included are a small number of items concerning the personal business of Frank Rehn and John Clancy.
Five volumes of Scrapbooks (Series 3) contain clippings and a small number of exhibition catalogs documenting the activities of Rehn Galleries and many of its associated artists. Additional Printed Matter in Series 4 includes material relating to Rehn Galleries and its artists, as well as publications produced by Rehn Galleries. General, art-related printed matter consists of articles, auction catalogs, advertisements, and publications of various museums, arts organizations, and schools. There is also material about artists not affiliated with Rehn Galleries. Additional printed items concern miscellaneous subjects that are not art-related.
Series 5: Miscellaneous Records, includes artwork, lists and notes, and writings. Photographs in Series 6 are of people including artists represented by Rehn as well as several not affiliated with the gallery. Noticeably absent are likenesses of Frank Rehn and John Clancy. Photographs of works of art are by Rehn Galleries' artists and others. Reginald Marsh's photographs consist of family and personal photographs that were either given to Rehn Galleries or perhaps loaned for research use, and include views of Marsh from early childhood through later life, photographs of family and friends, and a small family album. Also included are photographs are of Marsh's childhood drawings.
Arrangement:
Series 1: Correspondence is arranged alphabetically and Series 3: Scrapbooks is in rough chronological order. Series 2, and 4-6 are arranged in categories, as indicated in the Series Descriptions/Container Listing. Unless otherwise noted, items within each folder are arranged chronologically.
The collection is arranged into 6 series:
Missing Title
Series 1: Correspondence, 1858-1969, undated (Boxes 1-15; 14.4 linear ft.; Reels 5849-5869)
Series 2: Financial Records, 1919-1968, undated (Boxes 15-17; 2.6 linear ft; Reel 5869)
Series 3: Scrapbooks, 1919-1940 (Boxes 23-24; 0.6 linear ft.; Reels 5869-5870)
Series 4: Printed Matter, 1882-1969, undated (Boxes 18-20; 2.4 linear ft.; Reels 5870-5872)
Series 5: Miscellaneous Records, circa 1920-1968 (Boxes 20-21; 0.7 linear ft; Reel 5872)
Series 6: Photographs, 1871-1966, undated (Boxes 22, 24, OV 25; 1.0 linear ft.; Reel 5872)
Historical Note:
Frank K. M. Rehn (1886-1956), son of the marine painter Frank Knox Morton Rehn, after several years' experience as an employee of the Milch Galleries and as exhibition manager for the Salmagundi Club, opened his own art gallery in 1918. In its earliest years, the gallery operated as the Galleries of Frank K. M. Rehn. From the mid 1920s through the mid 1940s, the name used was Frank K. M. Rehn Galleries. As early as 1946, the gallery was referred to simply as Rehn Galleries. The gallery closed in 1981.
Throughout its existence, Rehn Galleries specialized in representing American painters. During the first five years Rehn's operation was a private gallery at 6 West 50th Street, New York City. Among the artists he first represented were older, established men such as J. Alden Weir, George Inness, Alexander Wyant, Theodore Robinson, Thomas Dewing, and John H. Twachtman. Occasionally, Rehn handled works by such luminaries of the period as Robert Henri, George Luks, and John Singer Sargent. Among the living artists affiliated with the gallery in its first years were Daniel Garber, Walter Griffin, Dodge MacKnight, and Robert Spencer. Rehn's most popular artist during this time was Childe Hassam, who sued for recovery of a painting that, although acquired by Rehn through a reputable dealer, had been stolen from Hassam's studio many years earlier.
Despite the newspaper publicity surrounding Hassam's lawsuit, the business was a successful venture almost immediately. Very early, a number of important collectors including Duncan Phillips, John Gellatly, John T. Spaulding, Albert McVitty, E. W. Root, and C. Vanderbilt Barton displayed confidence in Rehn's judgment and integrity, which enhanced his gallery's reputation and stature among both collectors and artists. In 1923, the gallery moved to 693 Fifth Avenue and began operating as Rehn Galleries, a commercial gallery in the same building that housed in a building that housed Kennedy and Company and the Bourgeois Galleries. At this time, Rehn hired an assistant, John C. Clancy (1897-1981), who had formerly been with Henry Reinhardt and Son and M. Knoedler.
The Rehn Galleries soon enjoyed a regular following among museum curators and collectors visiting from out of town. The gallery's roster of artists grew along with its reputation. Rehn focused almost exclusively on American painters, occasionally showing drawings and prints by artists who were primarily painters; notable exceptions were sculptor Mahonri Young and Henry Varnum Poor who, in addition to being a painter, was known for his work in ceramics. Among the painters eventually represented were: Peggy Bacon, George Bellows, Alexander Brook, Charles Burchfield, John F. Carlson, John Carroll, Howard Cook, Jon Corbino, Virginia Cuthbert, Andrew Dasberg, Sidney Gross, Edward Hopper, Alexander James, Irving Kaufmann, Yeffe Kimball, Leon Kroll, Peppino Mangravite, Reginald and Felicia Meyer Marsh, Henry Mattson, Henry Lee McFee, Kenneth Hayes Miller, Charles Rosen, Robert Riggs, Alexander Russo, Elizabeth Sparhawk-Jones, Eugene Speicher, Henry Strater, Richard Derby Tucker, Franklin C. Watkins, and Denny Winters.
In 1930, Rehn Galleries moved one block south to the Air France Building at 683 Fifth Avenue, and remained there for thirty years. John C. Clancy, Rehn's long-time assistant, became Gallery Director in 1953 after a stroke prevented Rehn from continuing to run his business in an active capacity. Eventually, Rehn's widow sold Clancy the gallery, which he continued to operate under varying names, including Rehn Gallery, Frank K. M. Rehn Galleries, Frank Rehn Gallery, and Rehn Galleries. From 1960 until 1966, The Rehn Galleries were at 36 East 61st Street from 1960 until 1966, when the gallery moved to a space formerly occupied by Kootz Gallery at 855 Madison Avenue, where it remained in business for another fifteen years.
Related Material:
John Clancy interview by Paul Cummings, July 10, 1970. Oral History Program, Archives of American Art, Smithsonian Institution.
Samuel Adler Papers, 1902-1979. Archives of American Art, Smithsonian Institution. Contains a recording (1 cassette; untranscribed) of Beverly Chesler interviewing John Clancy about the history of Rehn Galleries, 1973; Samuel Adler is present and participates briefly in the interview.
Provenance:
The Frank K. M. Rehn Galleries records were loaned by John Clancy for microfilming in 1959; in 1966, this same material was donated to the Archives. Mr. Clancy made subsequent gifts of additional gallery records in 1978 and 1981. In 1985, the Whitney Museum of American Art donated to the Archives correspondence with Edward Hopper that John Clancy had loaned the museum many years earlier. A death mask of George Luks received with the collection is on extended loan to the National Portrait Gallery, Smithsonian Institution.
Restrictions:
The collection has been digitized and is available online via AAA's website.
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, Modern -- 20th century -- New York (State) -- New York Search this
The series contains a small leather case and one engagement calendar belonging to Anne Norton Meyer; family business records consisting of receipts for art supplies, shipping receipts for artworks by Reginald Marsh, and a few other records; wedding and marriage announcements; and writings by Felicia Meyer Marsh and about her father, Herbert Meyer.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
Includes additional letters from Reginald Marsh to Felicia Meyer Marsh, and letters from friends and family.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
The majority of the correspondence before 1954 are personal family letters between Felicia Meyer Marsh (Tim or Timmy) with her husband Reginald Marsh and her parents Herbert and Anne Meyer. Other correspondence includes illustrated letters from Reginald Marsh and others; sympathy letters following Reginald's death on July 3, 1954; and business correspondence after 1954 regarding artworks by Reginald.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
Includes sympathy letters from Peggy Bacon, Alexander Brook, Olin Dows, Philip Evergood, Lloyd Goodrich, Edward Hopper, George Tooker, Andrew Wyeth, and other friends and family.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
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:
Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.
