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Cloisters, The

Provenance:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Creator:
Bonnefont Cloister  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Slide (col.)
Type:
Archival materials
Slides
Place:
New York (State) -- New York City
United States of America -- New York -- New York
Date:
1940
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Spring  Search this
Wells  Search this
Herb gardens  Search this
Loggias  Search this
Courtyards  Search this
Herbs  Search this
Cloister gardens  Search this
Trees  Search this
Arches  Search this
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item NY419001
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Series 1: United States Garden Images / New York / NY419: New York -- Cloisters, The
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb651a568e4-9470-43f1-849d-65681ec3357d
EDAN-URL:
ead_component:sova-aag-gca-ref28754

[Unidentified landscape]: unidentified painting.

Manufacturer:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Collection Creator:
Garden Club of America  Search this
Extent:
1 Photograph (lantern slide, black-and-white, 3.25 x 4 in.)
Type:
Archival materials
Photographs
Lantern slides
Paintings
Date:
[between 1914 and 1949?]
General:
Historic plate number: "71260; 3."
Historic plate caption: "The Metropolitan Museum of Art; Lantern Slide."
Mount reads: "Made by the Metropolitan Museum of Art, New York."
Mount reads: "Made by the Metropolitan Museum of Art, New York."
Historic plate number: "71260; 3."
Historic plate caption: "The Metropolitan Museum of Art; Lantern Slide."
Collection Restrictions:
Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Topic:
Landscapes  Search this
Rivers  Search this
Bridges  Search this
Boats and boating  Search this
People  Search this
Trees  Search this
Genre/Form:
Lantern slides
Paintings -- Reproductions
Collection Citation:
Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.
Identifier:
AAG.GCA, Item GCA002026
See more items in:
The Garden Club of America collection
The Garden Club of America collection / Unidentified Garden Images / International / GCA002: Unidentified International Locales
Archival Repository:
Archives of American Gardens
GUID:
https://n2t.net/ark:/65665/kb684c7ee2a-d29d-4152-b157-19d897d2175a
EDAN-URL:
ead_component:sova-aag-gca-ref5171

Longmen, Binyang Caves, Central cave, north east wall, showing removed Donors Relief

Creator:
Freer, Charles Lang, 1856-1919  Search this
Yü Tai, c.1910  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Smithsonian Institution  Search this
Collection Creator:
Freer, Charles Lang, 1856-1919  Search this
Extent:
1 Glass plate negative (glass plate negative, 8.5 x 6.5 in.)
Type:
Archival materials
Glass plate negatives
Photographs
Place:
China
Date:
1910
Scope and Contents:
Glass plate negative taken by Chinese photographer Yü Tai for Charles Lang Freer during his journey to the cave temples of Longmen in Henan Province, and a subsequent brief trip to Hangzhou in Zhejiang Province between October 1910 and February 1911. This relief is currently in the Metropolitan Museum, New York.
龙门 宾阳中洞
Local Numbers:
FSA A.01 12.05.GN.090
General:
Title is provided by FSg Archives staff
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Buddhism  Search this
Antiquities  Search this
Temples -- China  Search this
Genre/Form:
Photographs -- 1900-1910 -- Black-and-white negatives -- Glass
Collection Citation:
Charles Lang Freer Papers. Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Identifier:
FSA.A.01, Item FSA A.01 12.05.GN.090
See more items in:
Charles Lang Freer Papers
Charles Lang Freer Papers / Series 12: Photographs / 12.5: China / Photographs in China, 1910-1911, Glass Plate Negatives (16 Boxes)
Archival Repository:
Freer Gallery of Art and Arthur M. Sackler Gallery Archives
GUID:
https://n2t.net/ark:/65665/dc38a7799a8-cf9a-4950-b364-b43c734e1a92
EDAN-URL:
ead_component:sova-fsa-a-01-ref3383

Carnegie Institute, Museum of Art records

Creator:
Carnegie Institute, Museum of Art  Search this
Names:
Art Institute of Chicago  Search this
Buffalo Fine Arts Academy  Search this
Corcoran Gallery of Art  Search this
Gallery of William Macbeth  Search this
M. Knoedler & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Alexander, John White, 1856-1915  Search this
Beatty, John W. (John Wesley), 1851-1924  Search this
Beaux, Cecilia, 1855-1942  Search this
Brush, George de Forest, 1855-1941  Search this
Chase, William Merritt, 1849-1916  Search this
Church, Samuel Harden  Search this
East, Alfred, Sir, 1849-1913  Search this
Hassam, Childe, 1859-1935  Search this
Homer, Winslow, 1836-1910  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Extent:
265.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Letterpress books
Museum records
Place:
Spain -- History -- Civil War, 1936-1939
Date:
1883-1962
bulk 1885-1962
Summary:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.
Scope and Contents:
The records of the Carnegie Institute, Museum of Art measure 265.8 linear feet and date from 1883-1962, with the bulk of the material dating from 1885-1940. The collection includes extensive correspondence between the museum's founding director, John Beatty, and his successor, Homer Saint-Gaudens, with artists, dealers, galleries, collectors, museum directors, representatives abroad, shipping and insurance agents, and museum trustees. The collection also includes Department of Fine Arts interoffice memoranda and reports; loan exhibition files; Carnegie International planning, jury, shipping, and sale records; Department of Fine Arts letterpress copy books, and a copy of the original card catalog index to these records.

This collection is a complete record of the museum's work, starting with the planning of the first loan exhibition in 1885 and ending with the cancellation of the International at the start of World War II in 1940. The museum's day-to-day relationships with all aspects of the contemporary art world are documented within the historical context of artists' reactions to World War I; the economic repercussions of the Great Depression on art sales and museum budgets; the ramifications of fascism on German, Italian, and European art; the impact of civil war on Spanish art; and the tensions introduced by the rise of 'radical' modernist art in Europe.

Correspondence (Series 1) is the largest series in the collection (152.5 linear feet) and is comprised of extensive correspondence between the Museum of Art and over 8700 correspondents, with over 3600 correspondents specifically related to art and artists.

Correspondents related to the art world include museum staff, artists, collectors, museums, galleries, dealers, shippers, insurance agencies, art directors, associations, societies, clubs, critics, press, and governments. These exchanges include general requests for information; requests related to the museum's exhibitions, including the International; letters regarding the museum's involvement in the events of other art organizations; loan, sales, and provenance information for specific works of art; and information regarding the events of other art organizations.

The correspondence of the museum's staff provides the greatest insight into understanding the museum's evolution into an international cultural institution. Both directors' correspondence touch on their personal opinions on art, their rationale behind policy decisions, and their understanding of the extent to which the museum's work was dependent on the good relations they maintained in the art world. Additionally, the extensive, opinionated correspondence between Saint-Gaudens' European agents and museum staff during the 1920s and 1930s provide a unique perspective on emerging art trends and the skill, growth, and personalities of individual artists.

The most prolific of the museum staff correspondents include museum directors John Beatty and Homer Saint-Gaudens, Board of Trustees president Samuel Harden Church, assistant director Edward Balken, and European agents Guillaume Lerolle , Ilario Neri, Arnold Palmer, Margaret Palmer, and Charlotte Weidler. Additional prominent staff members include Helen Beatty, Robert Harshe, Caroline Lapsley, Henry Jack Nash, John O'Connor, Charles Ramsey, George Shaw, George Sheers, August Zeller, and Fine Arts Committee members John Caldwell, William Frew, William Hyett, and John Porter.

The most prolific artist correspondents include John White Alexander, George Grey Barnard, Cecilia Beaux, Frank Benson, George de Forest Brush, William Merritt Chase, William Coffin, Bruce Crane, Andre Dauchez, Charles H. Davis, Alfred East, Ben Foster, Daniel Garber, Charles P. Gruppe, John Johansen, Johanna Hailman, John McLure Hamilton, Birge Harrison, Childe Hassam, Winslow Homer, Laura Knight, John la Farge, Gaston la Touche, John Lavery, Henri le Sidaner, Jonas Lie, Hermon A. MacNeil, Antonio Mancini, Gari Melchers, Emile Menard, Henry R. Poore, Edward Redfield, W. Elmer Schofield, Leopold Seyffert, Lucien Simon, Eugene Speicher, Abbott Handerson Thayer, Robert Vonnoh, J. Alden Weir, Irving R. Wiles, and Ignacio Zuloaga. Other artists of note include: Edwin Austen Abbey, George Bellows, Edwin Blashfield, Frank Brangwyn, Mary Cassatt, Kenyon Cox, Thomas Wilmer Dewing, Thomas Eakins, William Glackens, Robert Henri, Eastman Johnson, Rockwell Kent, Paul Manship, Henry Ranger, John Singer Sargent, Edward Steichen, Alfred Stieglitz, Edmund Tarbell, James McNeil Whistler, N.C. Wyeth, and Charles Morris Young.

Frequent museum collaborators include the Art Institute of Chicago, Boston Museum of Fine Arts, Brooklyn Museum, Buffalo Fine Arts Academy, Cleveland Museum of Art, Corcoran Gallery of Art, Detroit Institute of Art, Metropolitan Museum of Art, Museum of Modern Art, Saint Louis Museum of Fine Arts, Toledo Museum of Art, and Worcester Art Museum.

Other prolific correspondents include collectors Chauncey Blair, Andrew Carnegie, Charles Lang Freer, George Hearn, Alexander Humphreys, Roy Hunt, Mrs. B.F. Jones, Burton Mansfield, Frank Nicola, Duncan Phillips, John Stevenson, and William Stimmel; dealers and galleries M. Knoedler, William Macbeth, Central Art Gallery, Charles A. Walker, C.W. Kraushaar Art Galleries, Downtown Gallery, Durand-Ruel and Sons, Ehrich Galleries, Ferargil Galleries, Frank Rehn, Frederick Keppel, Haseltine Art Gallery, R.C. Vose Galleries, and W. Scott Thurber Fine Arts; insurance agent Macomber Co.; and shippers Dicksee and Co., J.W. Hampton, P. Navel/R. Lerondelle, Stedman and Wilder, and W.S. Budworth and Son.

Correspondents not specifically related to the contemporary art world include businesses, educational institutions, libraries, and the general public. These exchanges detail the daily work of the museum, including the estimates and work orders of office suppliers, contractors, printers, and etc.; programming and research inquiries of k-12 and college/university institutions; acknowledgements of the receipt of Museum of Art publications; and general public inquiries regarding museum policies, exhibitions, and the permanent collection. Companies and institutions who worked particularly closely with the museum include Alden and Harlow (architects), Detroit Publishing Co., and Tiffany and Co.

Department of Fine Arts (Series 2) consists of art and artist lists, correspondence, memoranda, notes, and reports. These files were begun under John Beatty's tenure and streamlined under Homer Saint-Gaudens' directorship to track activities directly related to the museum's interoffice affairs. File headings continued under Saint-Gaudens focus on art considered and purchased for the permanent collection, employee records, exhibition proposals and loans, Fine Arts Committee minutes, museum programming, museum publications, press releases, requests for images, and requests for general information.

Under Saint-Gaudens, the Fine Arts Committee files contain voluminous impressions of contemporary European artists, which he composed during his annual studio tours of the continent in the early 1920s and late 1930s. These informal reports provide insight into the shaping of the International and include a running commentary on historical events of the time. The Fine Arts Committee files also document the artistic and budgetary compromises that were struck, particularly during the Great Depression and early run-up to World War II.

Exhibitions (Series 3) includes correspondence with collectors, museums, galleries, dealers, shippers, and many of the artists themselves. Additional documents include catalogs, lists, planning notes, and telegrams related to 185 traveling and loan exhibitions held at the Museum of Art from 1901 to 1940. Of these, over 100 are one-artist shows and 82 are group, survey, regional, or topical shows. The one-artist exhibitions tend to showcase contemporary artists of the time. Regional shows focused on American and European art, with two shows featuring the art of Canada and Mexico. Survey themes focused on animals, children, cities, gardens, landscapes, Old Masters, and portraitures. Many of the genre shows venture into art not typically collected by the Museum of Art, including architecture, crafts, engravings, figure studies, graphic arts, illustrations, miniatures, mural decorations, oriental rugs, prints, printed books, sculpture, small reliefs, stained glass, theater models, watercolors, and wood engravings.

The most important shows organized and curated by Museum of Art staff include the Panama-Pacific International Exposition (1915), American Sculpture Show (1915, 1920), Applied Arts Show (1917), Original Illustrations Show (1921), Mexican Art Show (1929), Garden Club Show (1922), Industrial Art Show (1924), Pittsburgh Artists Show (1935), French Survey Show (1936), English Painting Survey Show (1937), American Paintings, Royal Academy Show (1938), and Survey of American Painting Show (1940).

Important one-artist shows include Abbot Handerson Thayer (1919), George de Forest Brush (1922), Frank W. Benson (1923), Rockwell Kent (1923, 1939), Anders Zorn (1924), John Lavery (1925), Paul Manship (1925), Mary Cassatt (1925), Laura Knight (1925), Edouard Manet (1932), Edward Hopper (1936), Winslow Homer (1922, 1936), Paul Cezanne (1936), Charles Burchfield (1937), and William Glackens (1938).

International (Series 4) is comprised of catalogs, correspondence, art and artist lists, itineraries, jury selection ballots, minutes, notes, and reports related to the planning, logistics, and promotion of the International Exhibition from 1895 to 1940. These documents were originally grouped and filed separately under John Beatty and were more rigorously streamlined under Homer Saint-Gaudens. The folder headings continued under Saint-Gaudens focus on art purchases, artists' invitations, artists' request for information, general exhibition planning, Foreign Advisory Committees, foreign governments, jury reception planning, loan requests, and touring logistics.

Letterpress books (Series 5) consist of 75 volumes that chronologically collect all of the Museum of Art's outgoing correspondence from 1896 to 1917. Volumes 1-8 contain the only copy of outgoing correspondence from 1896 to 1900. Duplicate copies of all outgoing correspondence dating from 1901 to 1917 were filed in Correspondence (Series 1) by museum staff.

Card catalogs (Series 6) also include three sets of catalogs created by the Museum of Art to track the outgoing and incoming correspondence contained in this collection. Set 1 (1895-1906) consists of the original cards. Set 2 (1907-1917) and Set 3 (1918-1940) consists of photocopies of the original cards that were merged together into one contiguous set.
Arrangement:
The collection is arranged into six series:

Missing Title

Series 1: Correspondence, 1883-1962, (Boxes 1-153, OV 267; 152.5 linear feet)

Series 2: Department of Fine Arts, 1896-1940, (Boxes 153-184, OV 268; 31.6 linear feet)

Series 3: Exhibitions, 1901-1940, (Boxes 184-204; 20 linear feet)

Series 4: International, 1895-1940, (Boxes 204-234, 265-266; 30.2 linear feet)

Series 5: Letterpress Books, 1900-1917, (Boxes 235-251; 17 linear feet)

Series 6: Card Catalogs, 1895-1940, (Box 252-264; 11 linear feet)
Biographical / Historical:
The Carnegie Institute Museum of Art was established in 1895 by industrialist and philanthropist Andrew Carnegie. One of the first modern contemporary art museums in the United States, its flagship exhibition, the Carnegie International, is recognized as the longest running contemporary exhibition of international art in North America and is the second oldest in the world.

Andrew Carnegie (1835-1919) was born in Dumfermline, Scotland and migrated to America with his family in 1848. Often regarded as the second-richest man in history behind John D. Rockerfeller, Carnegie built his industrialist fortunes in the steel industry and spent the remainder of his life in support of major philanthropic projects. By the age of 33, he had developed his personal philosophy of philanthropy, which saw it as the responsibility of the wealthy to foster educational opportunities and disseminate the ideals of high culture among all levels of society. In addition to establishing over 2500 free public libraries, in 1895, he provided the funds to build the Carnegie Institute, located in the Oakland neighborhood of Pittsburgh, Pennsylvania. The Carnegie Institute originally maintained three separate departments under the auspices of the Carnegie Library of Pittsburgh, the Carnegie Museum of Natural History, and the Carnegie Museum of Art.

The Carnegie Institute was administered by a Board of Trustees selected by Carnegie, all prominent professional men of Pittsburgh. Within this group, eight men were selected to serve on the Museum of Art's Fine Arts Committee, which was initially granted the final say on gallery affairs. The first Fine Arts Committee was composed of two artists, Alfred Bryan Wall and Joseph Ryan Woodwell, and six businessmen. Among the latter group, John Caldwell, Henry Clay Frick, William Nimick Frew, and David Thompson Watson were also knowledgeable art patrons and collectors. Over time, the Fine Arts Committee's sway over gallery affairs would be measured by the dedication of its various members and tempered by the vision and authority of the Museum's directors, John Beatty and Homer Saint-Gaudens, and the Carnegie Institute Board of Trustees president, Samuel Harden Church.

From 1896 to 1921, John Wesley Beatty (1851-1924) served as the first director of the Museum of Art. A native Pittsburgher and an accomplished silver engraver, illustrator, and painter, Beatty attended the Royal Bavarian Academy in Munich and upon his return to America, made a living as an artist. He also taught at the Pittsburgh School of Design for Women and co-founded a small school of art with fellow local artist George Hetzel. In 1890, while serving as the secretary of the Pittsburgh Art Society, he became the primary organizer of a loan exhibition to be displayed at the opening of the Carnegie Free Library in Allegheny, Pennsylvania. In 1895, when the Carnegie Institute trustees began discussing the possibility of a similar loan exhibition for the opening of their new institution, Beatty was contacted and eventually enlisted to take on the task. Upon the success of that exhibition, he was invited to direct the gallery's affairs and served as the Museum of Art's director until his retirement.

Beatty was an enthusiastic supporter of Impressionism, Realism, Tonalism, Symbolism, and the critically acclaimed contemporary art of the 1890s. He also shared Carnegie's vision for the Museum of Art and believed in the educational and uplifting role aesthetic beauty could provide to the general public. Pursuant to the stated goals of Andrew Carnegie, under Beatty's direction the museum began to purchase important contemporary works to add to its chronological collection of "Old Masters of tomorrow" and almost immediately began planning the first of its Internationals.

The Internationals were viewed as the primary means of showcasing the Museum of Art's selection of the best in contemporary American and European painting, thereby elevating its role as an influential cultural institution on a national and international level. Juried monetary prizes would be awarded to the two best works by American artists, additional awards would be offered to artists of all nationalities, and the Museum of Art's purchases for the year would be selected from the exhibition. Certain artists and collectors were tapped to serve as unofficial representatives of the Museum of Art at home and abroad, among them John White Alexander, William Coffin, I.M. Gaugengigl, Walter Shirlaw, and Edmund Tarbell. Many of the most prominent Pittsburgh art collectors were also asked to lend works to the exhibition. While details of the jury and artist selection process, number of representatives, exhibition show dates, and amount and total number of prizes would change over the years, the planning template was set and would remain the same for future Internationals.

Beatty continued to rely on a stable of close friends and confidantes to help smooth over relations with artists, dealers, shipping agents, and galleries alike, relying heavily on John White Alexander and W. Elmer Schofield, in addition to artists Thomas Shields Clarke, Walter Gay, Robert Henri, Frank D. Millet, and critic Charles M. Kurtz. Over time, many of the artists who served on International juries or Foreign Advisory Committees also became reliable friends and advocates of the International, including Edwin Austen Abbey, Edmond Aman-Jean, Edwin Howland Blashfield, William Merritt Chase, Charles Cottet, Kenyon Cox, Charles Harold Davis, Alfred East, Ben Foster, Charles Hopkinson, John la Farge, Gari Melchers, Leonard Ochtman, Irving R. Wiles, and Robert W. Vonnoh.

From 1896 to 1921, the Museum of Art held twenty-one Internationals, with the only exceptions coming in 1906 (construction of the Hall of Architecture, Hall of Sculpture, and Bruce Galleries), 1915 (deference to the San Francisco Panama-Pacific International), and 1916-1919 (World War I). During these years, the scope and administration of the International slowly expanded, though not without growing pains. At the turn of the century, new modernist styles of art that were appearing in galleries across Europe had not yet entered major American museums and the Carnegie Museum of Art maintained this trend. The museum's generally conservative selection policies, combined with criticism regarding the timing of the exhibition and the jury selection process, led to increasingly tense relations with artists, and were only partially resolved by changes made to the format of the International. In spite of these challenges, the Carnegie International retained its reputation as a preeminent venue for contemporary art and awarded top prizes to John White Alexander, Cecilia Beaux, George W. Bellows, Frank W. Benson, Andre Dauchez, Thomas Wilmer Dewing, Thomas Eakins, Childe Hassam, Winslow Homer, John Lavery, Henri le Sidaner, Edward W. Redfield, W. Elmer Schofield, Edmund C. Tarbell, Abbot Handerson Thayer, Dwight W. Tryon, and J. Alden Weir.

In addition to the International, Carnegie's mission of bringing cultural and educational opportunities to Pittsburgh was a central priority of the museum's daily operations. Beatty cultivated relationships with fellow museum directors, which allowed for the easy co-ordination and planning of traveling exhibitions benefiting the city. The museum developed educational programs for children and adults, including lectures, gallery talks, Saturday morning classes, fine art extension classes, guided tours, and outreach to local schools. As popular Pittsburgh art societies and clubs formed, the museum also provided meeting and exhibition spaces for groups such as the Associated Artists of Pittsburgh, the Art Society of Pittsburgh, the Art Students League, the Garden Club of Allegheny County, and the Junior League.

After more than 25 years of service, Beatty made the decision to retire and put out an informal call for candidates. Being the right man at the right time, in 1921, Homer Schiff Saint-Gaudens (1880-1958) became the Museum of Art's second director.

The only child of American sculptor Augustus Saint-Gaudens and his wife and artist, Augusta Fisher Homer, Saint-Gaudens frequently traveled abroad and grew up in the company of his parents' wide circle of friends, many of them artists, poets, writers, and performers who frequented the Cornish Artists' Colony. More intimate friends of the family included former students, assistants, and colleagues, the architect Stanford White, and successful artist-couples who resided near the family's Cornish, New Hampshire home, among them Louise and Kenyon Cox, Maria and Thomas Dewing, Florence and Everett Shinn, and Emma and Abbott Thayer.

Homer Saint-Gaudens attended the preparatory school Lawrenceville, graduated from Harvard in 1903, married the artist and suffragist Carlota Dolley (1884-1927) in 1905, and remarried to Mary Louise McBride (n.d.-1974) in 1929. He began his professional career as a journalist and worked as assistant editor of The Critic (1903) and managing editor of Metropolitan Magazine (1905). During those years, he was introduced to a number of the Ash Can school artists, wrote articles on contemporary art, and honed his abilities as a writer. In 1907, Saint-Gaudens took a break from professional editing and began a second career as the stage manager for Maude Adams, the most highly paid and successful stage actress of her day, with a yearly income of over one million dollars at the peak of her popularity. Working in theater and as Adams' manager for over ten years, Saint-Gaudens learned the ins and outs of event promotion and logistics, media coverage, and maintaining diplomatic relations through compromise, ideal skills he would later use in organizing the Carnegie Internationals.

With the United States' entry into World War I, Saint-Gaudens served as the chief of the U.S. Army's first camouflage unit and was awarded the Bronze Star. After his discharge, he managed Adams' 1918 final season and simultaneously helped his mother organize a major retrospective of his father's sculptures. While organizing a section of his father's work for the 1921 International, he was invited to step into the position of assistant director of the Carnegie Museum of Art, and was promoted to the directorship upon John Beatty's retirement.

Throughout his tenure, Saint-Gaudens was able to call upon long-standing family friendships with artists and art patrons to the museum's benefit. His connections to the art world can clearly be seen in his first major stand-alone exhibition, the Garden Club Show (1922). In this, he enlisted the aid of Elizabeth Alexander, wife of John White Alexander, and Johanna Hailman, artist and wife of John Hailman, who reached out to their circle of artists and art collecting friends in search of works appropriate for the show. Their efforts, combined with the relationships Beatty had established with museum directors, galleries, and dealers, as well as Saint-Gaudens' own friendships with Kenyon Cox, Thomas Dewing, Barry Faulkner, and Gari Melchers, resulted in an assemblage of 150 paintings of note. Coming immediately upon the heels of the 1922 International, the show was a resounding success. The exhibition's opening attracted over 300 delegates of the Garden Club of America and the entirety of Pittsburgh high society, settling any concerns regarding his leadership abilities.

As director of the Museum of Art, Saint-Gaudens instituted measures intended to streamline the Internationals and improve diplomatic relations with artists. Though the basic format of the juried exhibition remained the same, his solutions to the complaints many artists raised with the artist invitation, art selection, and jury systems reformed the International's reputation at a critical time. Though he was naturally inclined to appreciate the art and artists he had grown up with, Saint-Gaudens understood the immediate necessity of introducing modernist contemporary art into the museum's exhibitions and galleries. He circumvented the conservative Fine Arts Committee's resistance to the accolades of European modernists by choosing the tamest of the new 'radical' works. Eventually, he balanced the Internationals with a mix of conservative, moderate, and advanced works that appealed to a large range of audiences and increased the status and diversity of the Internationals.

To aid in his reformation of the International, Saint-Gaudens formalized a team of European agents who worked year round to scout artists' studios, recommend suitable art and artists, navigate local politics, arrange local transportation and logistics, and maintain cordial relations with artists abroad. In the spring, Saint-Gaudens would travel to Europe to meet with his agents in person, tour the most promising studios, and meet with artists personally. His team was headed by Guillaume Lerolle, who shared Saint-Gaudens' distinction of being the son of a well regarded national artist, Henry Lerolle. Like Saint-Gaudens, Lerolle was able and willing to call upon longstanding family friendships and networks on behalf of the Museum of Art. The other core members of the team were Ilario Neri (Italy), Arnold Palmer (England), Margaret Palmer (Spain), and Charlotte Weidler (Germany).

From 1922 to 1940, the Museum of Art held seventeen Internationals, with the exceptions coming in 1932 (Great Depression) and 1940 (World War II). After a brief period of change, growth, and experimentation in the early 1920s, the museum eventually settled on a routine of planning the Internationals, arranging for traveling exhibitions, and expanding upon the most popular of their educational programs. In addition to those programs put into place under Beatty's tenure, Saint-Gaudens paved the way for a revamped lecture series featuring visiting critics and traveled as a visiting lecturer himself.

During the 1930s, financial difficulties and increasing political tensions in Europe presented ample challenges to the diplomatic skills of Saint-Gaudens and his agents, and they found themselves increasingly forced to navigate through political minefields presented by the fascist ideologies of Germany and Italy, the chaos of the Spanish civil war, and the eventual outbreak of World War II in Europe. In spite of these challenges, under Saint-Gaudens' direction, the museum remained true to Andrew Carnegie's vision. The International was expanded to accept on average over sixty additional works of art, and at its peak, included art from twenty-one countries. Beginning in 1927, top prizes and recognition were awarded to Georges Braque, Marc Chagall, Salvador Dali, Andre Derain, Raoul Dufy, Karl Hofer, Rockwell Kent, Yasuo Kuniyoshi, Henri Matisse, Pablo Picasso, and Edouard Vuillard.

Works by Arthur B. Davies, Charles Hawthorne, Edward Hopper, Augustus John, Oskar Kokoschka, Leon Kroll, Ernest Lawson, and William Orpen were added to the museum's permanent collection. And, as under Beatty's tenure, many of the artists selected to serve on the Jury of Award became advocates and friends of the museum, including Emil Carlsen, Anto Carte, Bruce Crane, Charles C. Curran, Daniel Garber, Charles Hopkinson, Laura Knight, Jonas Lie, Julius Olsson, Leopold Seyffert, Lucien Simon, Eugene Speicher, Maurice Sterne, Gardner Symons, Horatio Walker, and Charles H. Woodbury.

The monumental task of establishing the Carnegie Institute Museum of Art and the Carnegie International has left an archival record that is unique and unparalleled in documenting its relations with every aspect of the contemporary art world from the turn of the century through the first forty years of the twentieth century.
Provenance:
The Carnegie Institute, Museum of Art records were loaned for microfilming in 1966 and later donated to the Archives of American Art in 1972. A small addition of corrrespondence was donated in 2017 by Elizabeth Tufts Brown.
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 -- Economic aspects  Search this
World War, 1914-1918  Search this
Depressions -- 1929  Search this
Art, Modern -- Exhibitions  Search this
Fascism  Search this
World War, 1939-1945  Search this
Museum directors  Search this
Function:
Art museums -- Pennsylvania
Genre/Form:
Photographs
Letterpress books
Museum records
Citation:
Carnegie Institute, Museum of Art records, 1883-1962, bulk 1885-1940. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carninst
See more items in:
Carnegie Institute, Museum of Art records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-carninst
Online Media:

XV century Italian drawings from the Robert Lehman collection / catalogue by George Szabo

Title:
15th century Italian drawings from the Robert Lehman collection
Fifteenth century Italian drawings from the Robert Lehman collection
Author:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Szabó, George  Search this
Subject:
Lehman, Robert 1892-1969 Art collections  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
[51] p. : ill. ; 29 cm
Type:
Exhibitions
Catalogs
Place:
New York (State)
New York
Date:
1978
C1978
15th century
Topic:
Drawing, Italian--History  Search this
Drawing, Italian  Search this
Call number:
NC255 .N53f
NC255.N53f
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_118494

Baltimore Federal furniture, May 17-September 5, 1972 : Catalogue / by Marilynn Johnson Border

Author:
Metropolitan Museum of Art (New York, N.Y.) American Wing  Search this
Bordes, Marilynn Johnson  Search this
Physical description:
[19] p. : ill. ; 23 cm
Type:
Exhibitions
Place:
Maryland
Baltimore
Date:
1972
[1972?]
Topic:
Furniture  Search this
Decoration and ornament--Federal style  Search this
Call number:
NK2406 .N53b
NK2406.N53b
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_115160

Sixteenth-century Italian drawings in New York collections / William M. Griswold & Linda Wolk-Simon

Title:
16th-century Italian drawings in New York collections
Author:
Griswold, William  Search this
Wolk-Simon, Linda  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
xii, 270 p. : ill. (1 col.) ; 27 cm
Type:
Exhibitions
Place:
Italy
New York (State)
New York
Date:
1994
C1994
16th century
Topic:
Drawing, Italian  Search this
Drawing  Search this
Drawing--Collectors and collecting  Search this
Call number:
NC255 .G752 1994
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_475730

Casts, a Queens Museum project : [Exhibition] May 13 to July 10, 1977

Author:
Queens Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
14 p. : ill. ; 22 cm
Type:
Exhibitions
Place:
New York (State)
New York
Date:
1977
Topic:
Plaster casts  Search this
Sculpture  Search this
Call number:
NB1190 .Q3
NB1190.Q3
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_111955

The Irascibles painters against the museum, New York, 1950 Bradford R. Collins, Manuel Fontán del Junco, Inés Vallejo, and Beatriz Cordero (eds.) ; with texts by Daniel Belasco [and ten others] ; translation, Spanish/English, Nuria Rodríguez Riestra

Title:
Painters against the museum, New York, 1950
Editor:
Collins, Bradford R. 1942-  Search this
Fontán del Junco, Manuel 1963-  Search this
Vallejo, Inés  Search this
Cordero Martín, Beatriz  Search this
Contributor:
Belasco, Daniel 1975-  Search this
Translator:
Riestra, Nuria Rodríguez  Search this
Host institution:
Fundación Juan March  Search this
Subject:
Leen, Nina 1909-1995 Irascibles  Search this
Irascibles (Group of artists)  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
American Painting Today (Exhibition) (1950-1951 : Metropolitan Museum of Art)  Search this
Physical description:
291 pages color illustrations, portraits, maps 30 cm
Type:
Exhibitions
Expositions
Exhibition catalogs
History
Place:
New York (State)
New York
New York (N.Y.)
New York (État)
Date:
2020
20th century
20e siècle
Topic:
Artists and museums--History  Search this
Abstract expressionism  Search this
Abstract expressionism--Public opinion  Search this
Painting--Competitions--History  Search this
New York school of art  Search this
Art américain  Search this
Expressionnisme abstrait--New York (N.Y.)--New York  Search this
Art abstrait  Search this
Artists and museums  Search this
Painting--Competitions  Search this
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_1153652

Oral history interview with Irena Brynner

Interviewee:
Brynner, Irena  Search this
Interviewer:
Fisch, Arline M.  Search this
Creator:
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Names:
Craft Students League -- Faculty  Search this
Metal Arts Guild  Search this
Metropolitan Museum of Art (New York, N.Y.) -- Faculty  Search this
Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America  Search this
Renwick Gallery  Search this
Society of North American Goldsmiths  Search this
Bergman, Franz  Search this
Campbell, David Robert, 1907-1963  Search this
Daniels, Grete  Search this
De Patta, Margaret, 1903-1964  Search this
Faber, Aaron  Search this
Jensen, Georg Arthur, 1866-1935  Search this
Jeremias, Trudy  Search this
Renk, Merry, 1921-2012  Search this
Resnikoff, Florence Lisa Herman  Search this
Rosene, Caroline Gleick, 1907-  Search this
Stackpole, Ralph, 1885-1973  Search this
Winston, Robert, 1915-  Search this
Extent:
67 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2001 April 26-27
Scope and Contents:
An interview of Irena Brynner conducted 2001 April 26-27, by Arline M. Fisch, for the Archives of American Art's Nanette L. Laitman Documentation Project for Craft and Decorative Arts in America, in Brynner's home and studio, New York, New York.
Brynner speaks of her childhood in Vladivostok in Primorski Krai, Russia; her artistic family including her cousin Yul Brynner; fleeing from Russia to Darian (on the southern tip of the Liaotung peninsula, in the Kwantung Leased Territory of Manchuria); her art studies in Lausanne, Switzerland; her father's illness during World War II; moving with her mother to San Francisco in 1946; her studies with Ralph Stackpole and Franz Bergman in San Francisco; her relationship with architect Frank Merwin; teaching art in Catholic schools in San Francisco; her decision to make jewelry after seeing Claire Falkenstein's sculpture; working as an apprentice to Caroline Rosene and Franz Bergman; forming the Metal Arts Guild with Bob Winston, Merry Renk, Florence Resnikoff, Margaret De Patta, and others; and introducing forging and three-dimensional jewelry in the Metal Arts Guild. She also talks about her move to New York City in 1957; acting as her own agent; "open-air art shows" in San Francisco; her first show at Walker & Eberling; starting her own shop; teaching at the Craft Students League and at MoMA's Institute of Modern Art, at Victor D'Amico's invitation, circa 1962; her friendships with students and clients; her book, "Jewelry as an Art Form" (New York : Van Nostrand Reinhold, 1979) and its influence; learning to work with a Henes water welder; the treatment of women artists in America; her move to Geneva, Switzerland, in 1972, and the difficulties of starting a shop there; and her return to New York and reestablishing her career in the United States. Brynner also discusses her interest in singing, her voice lessons, her public performances of Russian classical music, and her health.
She comments on the intuitive development of her jewelry; the influence of Margaret De Patta; learning wax techniques from Bob Winston at Mills College; her progression from geometric to organic forms; her large-scale sculpture; her invention of "wrap-around earrings"; her use of niobium in the 1980s; drawing inspiration from Antonio Gaudi, Alberto Jaccometti, and others; involvement with the community of artists in the San Francisco Bay Area; the Society of North American Goldsmiths (SNAG); craft periodicals; her exhibitions at the Little Gallery of the Museum of Contemporary Crafts, the Musée de l'horlogerie et de l'émaillerie in Geneva, the Renwick Gallery in Washington, D.C., and others; her work in museum collections; serving as a juror; and writing her memoir. Brynner recalls Georg Jensen, Grete Daniels, Trudy Jeremias, Aaron Faber, David Campbell, and others.
Biographical / Historical:
Irena Brynner (1917-2003) was a jeweler from New York, New York. Arline M. Fisch (1931- ) is a metalsmith from San Diego, California.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 7 digital wav files. Duration is 3 hr., 41 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Occupation:
Painters -- New Jersey -- Roosevelt  Search this
Printmakers -- New Jersey -- Roosevelt  Search this
Illustrators -- New Jersey -- Roosevelt  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Decorative arts  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.brynne01
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95c304fce-983c-4d4f-95d4-8c5bfadff677
EDAN-URL:
ead_collection:sova-aaa-brynne01
Online Media:

Sporting prints and paintings. New York, March first to April twenty-fifth, 1937

Author:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Mayor, A. Hyatt (Alpheus Hyatt) 1901-1980  Search this
Physical description:
[60] p. illus. 22 cm
Type:
Exhibitions
Date:
1937
C1937]
Topic:
Sporting prints  Search this
Sports in art  Search this
Call number:
NE960.N53
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_101358

Oral history interview with Henry Geldzahler

Interviewee:
Geldzahler, Henry  Search this
Interviewer:
Cummings, Paul  Search this
Names:
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Endowment for the Arts  Search this
Bellamy, Richard  Search this
Bingham, Lois A.  Search this
Castelli, Leo  Search this
D'Harnoncourt, Rene, 1901-1968  Search this
Hale, Robert Beverly, 1901-1985  Search this
Hoving, Thomas, 1931-  Search this
Lowe, Harry, 1922-  Search this
Rorimer, James J. (James Joseph), 1905-1966  Search this
Scull, Robert C.  Search this
Stella, Frank  Search this
Stevens, Roger L.  Search this
Warhol, Andy, 1928-1987  Search this
Extent:
2 Sound tape reels (Sound recording, 7 in.)
76 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1970 Jan. 27
Scope and Contents:
An interview of Henry Geldzahler conducted 1970 Jan. 27, by Paul Cummings, for the Archives of American Art. Geldzahler speaks of his youth and family background; his early interests; his education at Yale and Harvard; the decision to pursue an art career; working with the Metropolitan Museum of Art for Robert Beverly Hale; working with James Rorimer; his first exhibit; artists and curators he has been associated with; working with Roger Stevens at the National Endowment for the Arts; public interest in museums; working with Thomas Hoving; his opinion of critics; and how he selects works for exhibitions. He recalls Richard Bellamy, Harry Lowe, Lois Bingham, Robert Scull, Leo Castelli, Frank Stella, Andy Warhol, and Rene D'Harnoncourt.
Biographical / Historical:
Henry Geldzahler (1935-1994) was a curator in New York, N.Y.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Curators -- New York (State) -- New York -- Interviews  Search this
Function:
Art museums -- New York (State) -- New York
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.geldza70
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw930961b87-e75b-4509-b6de-2f4dadabd532
EDAN-URL:
ead_collection:sova-aaa-geldza70

Miner Kilbourne Kellogg papers

Creator:
Kellogg, Miner K. (Miner Kilbourne), 1814-1889  Search this
Names:
Cleveland Academy of Art  Search this
Lenox Library  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
National Academy of Design (U.S.)  Search this
Benjamin, Park, 1809-1864  Search this
Cesnola, Luigi Palma di, 1832-1904  Search this
Clark, Lewis Gaylord, 1808-1873  Search this
Curtis, George William, 1824-1892  Search this
Custis, George Washington Parke, 1781-1857  Search this
Everett, Edward, 1794-1865  Search this
Gayarré, Charles, 1805-1895  Search this
Gilpin, Henry D. (Henry Dilworth), 1801-1860  Search this
Griswold, Rufus W. (Rufus Wilmot), 1815-1857  Search this
Johnson, Reverdy, 1796-1876  Search this
Kearny, Philip, 1815-1862  Search this
Kirkland, Caroline M. (Caroline Matilda), 1801-1864  Search this
Macready, William Charles, 1793-1873  Search this
Marlay, Charles Brinsley, 1831-1912  Search this
Marsh, George Perkins, 1801-1882  Search this
Parsons, Theophilus, 1750-1813  Search this
Poinsett, Joel Roberts, 1779-1851  Search this
Powers, Hiram, 1805-1873  Search this
Ream, Vinnie, 1847-1914  Search this
Russell, Samuel H.  Search this
Scott, Winfield, Mrs  Search this
Sherman, Ellen Ewing, 1824-1888  Search this
Slidell, John, 1793-1871  Search this
Somers, Virginia, Lady  Search this
Stratford de Redcliffe, Stratford Canning, Viscount, 1786-1880  Search this
Swedenborg, Emanuel, 1688-1772  Search this
Taylor, Bayard, 1825-1878  Search this
Tiffany, Osmond, b. 1823  Search this
Tuckerman, Henry T. (Henry Theodore), 1813-1871  Search this
Wall, W. I.  Search this
Whittlesey, Elisha, 1783-1863  Search this
Wickliffe, R., Jr  Search this
Extent:
0.6 Linear feet ((on 3 microfilm reels))
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1842-1882
Scope and Contents:
Correspondence, photographs, writings, a scrapbook, and printed materials.
REELS D30 and D33: Correspondence, clippings, and photographs. Included are letters from George William Curtis to Kellogg, October 1846-January 1847, describing Rome (incorrectly attributed to George Washington Parke Custis on microfilm); a letter from Elisha Whittlesey to George Washington Parke Custis, October 23, 1844, commending Miner Kellogg to him; and correspondence dealing with Kellogg's activities as a promoter of Hiram Powers' statue "The Greek Slave" in the mid-nineteenth century.
Correspondents include: Park Benjamin, Sir Stratford Canning, Luigi P. Cesnola, Lewis G. Clark, Edward Everett, Charles E.A. Gayarré, Henry D. Gilpin, Rufus W. Griswold, Reverdy Johnson, Phillip Kearny, Caroline M. Kirkland, Lenox Library, William C. MacReady, Brinsley Marlay, George P. Marsh, National Academy of Design, Theophilus Parsons, Joel R. Poinsett, Vinnie Ream Hoxie, Samuel H. Russell, Mrs. Winfield Scott, Ellen E. Sherman, John Slidell, Lady Virginia Somers (godmother of Kellogg's daughter Virginia), Bayard Taylor, Osmond Tiffany, Henry T. Tuckerman, W. I. Wall, and R. Wickliffe, Jr.
REEL 986: Scrapbook of clippings, collected by Kellogg from New York, Washington, Baltimore and Ohio newspapers. Some clippings were written by Kellogg, including stories about his own paintings, advertisements for his patent canvas stretcher, reports by him on his travel in foreign countries, and article on Hiram Powers, the opening of the Metropolitan Museum of Art (1880), Jane Eyre, Emanuel Swedenborg, the Cleveland Academy of Art, art unions, and fireproof buildings. Also included is a copy of a paper, "Fine arts in the United States" given by Kellogg in 1869 to the American Union Academy, Washington, D.C., and a booklet, "Mr. Miner K. Kellogg to his friends," Paris, 1858, describing his relationship with Powers.
Biographical / Historical:
Portrait painter, miniature painter, and orientalist; New York, N.Y. and Cincinnati, Ohio.
Provenance:
Material on reels D30 and D33 purchased 1956 from an unknown source. Material on reel 986 transfered from Smithsonian Institution Archives, 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm.
Occupation:
Miniature painters -- New York (State) -- New York  Search this
Portrait painters -- New York (State) -- New York  Search this
Topic:
Portrait painting -- New York (State) -- New York  Search this
Painting, American  Search this
Sculpture, American  Search this
Genre/Form:
Scrapbooks
Identifier:
AAA.kellmine
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96a485de3-c3fe-4250-b30a-7d1bedde3133
EDAN-URL:
ead_collection:sova-aaa-kellmine

Oral history interview with William Milliken

Interviewee:
Milliken, William Mathewson, 1889-1978  Search this
Interviewer:
Barrie, Dennis  Search this
Names:
Cleveland Museum of Art  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Frick, Henry Clay, 1849-1919  Search this
Gardner, Isabella Stewart, 1840-1924  Search this
Morgan, J. Pierpont, 1837-1913 (John Pierpont)  Search this
Seligmann, Jacques, 1858-1923  Search this
Valentiner, Wilhelm Reinhold, 1880-1958  Search this
Extent:
106 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1974 Dec. 27-1976 Mar. 13
Scope and Contents:
An interview of William Milliken conducted 1974 Dec. 27-1976 Mar. 13, by Dennis Barrie, for the Archives of American Art. Milliken speaks of his family background and history; his childhood; his education, and studies at Princeton; his first position as Assistant Curator of Decorative Arts at the Metropolitan Museum; his involvement with the Frick and the Cooper Union Museum; his appointment to the Cleveland Museum of Art in 1919, and becoming its director in 1930. He recalls William R. Valentiner, Jacques Seligmann, Isabella Stewart Gardner, J.P. Morgan, Henry Frick and others.
Biographical / Historical:
William Milliken (1889-1978) was a museum director from Cleveland, Ohio. He was the director of the Cleveland Museum of Art, 1930-1958.
General:
Originally recorded on 5 sound tape reels. Reformatted in 2010 as 10 digital wav files. Duration is 5 hrs., 45 min.
Provenance:
These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Topic:
Art, American  Search this
Museum curators -- Ohio -- Cleveland -- Interviews  Search this
Museum directors -- Ohio -- Cleveland -- Interviews  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.millik74
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw998cdcaf0-9fcc-4ef1-922d-801f35d6a0dd
EDAN-URL:
ead_collection:sova-aaa-millik74
Online Media:

Oral history interview with Eugene V. Thaw

Interviewee:
Thaw, Eugene Victor  Search this
Interviewer:
McElhinney, James Lancel, 1952-  Search this
Names:
Art Students League (New York, N.Y.) -- Students  Search this
Cleveland Museum of Art  Search this
Columbia University -- Students  Search this
E.V. Thaw & Co.  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pollock-Krasner Foundation  Search this
St. John's College (Annapolis, Md.) -- Students  Search this
Castelli, Leo  Search this
Franka, Gunther  Search this
Held, Julius Samuel, 1905-  Search this
Ketterer, Norbert  Search this
Krasner, Lee, 1908-1984  Search this
Landau, Jack, 1925-1967  Search this
Marca-Relli, Conrad, 1913-2000  Search this
Matisse, Pierre, 1900-1989  Search this
Meiss, Millard  Search this
Mitchell, Joan, 1926-1992  Search this
Offner, Richard, 1889-1965  Search this
Rivera, Diego, 1886-1957  Search this
Rousseau, Theodore, 1912-  Search this
Shapiro, Meyer  Search this
Simon, Norton, 1907-1993  Search this
Vavala, Evelyn Sandberg  Search this
Extent:
33 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
2007 October 1-2
Scope and Contents:
An interview of Eugene V. Thaw conducted 2007 October 1-2, by James McElhinney, for the Archives of American Art's Art Dealers Association of America Project, at Thaw's residence, in New York, N.Y.
Thaw speaks of his childhood in New York City; Mexican art in his home including watercolors by Diego Rivera; beginning classes at the Art Student's League of New York at age 14; attending St. John's College in Annapolis, Maryland; attending Columbia University for graduate courses in art history and studying with Meyer Shapiro and Millard Meiss; an early interest in Old Master, Renaissance, and German Expressionist art; studying in Florence, Italy for four months after World War II; opening The New Bookstore and Gallery with friend Jack Landau above the Algonquin Hotel upon his return to New York City; giving Joan Mitchell and Conrad Marca-Relli their first shows; ending his partnership with Landau, closing the bookstore, and moving the gallery to Madison Avenue; becoming involved in the international art market; the practice of buying and selling works of art in shares with other dealers; showing American and European artists; renaming the gallery E.V. Thaw & Company; operating essentially as a one-man gallery with very limited staff; his relationship with museums such as the Metropolitan Museum of Art and the Cleveland Museum of Art; his personal collections, including extensive ancient Eurasian artifacts and American Indian art; establishing the Pollock-Krasner Foundation; the philanthropic vision of his own foundation, the Eugene V. and Clare E. Thaw Charitable Trust; his retirement from dealing; the "hand of the artist" in historical context and its lack of significance in contemporary art; and advice for young and emerging art dealers. Thaw also recalls Richard Offner, Evelyn Sandberg-Vavala, Norbert Ketterer, Günther Franka, Pierre Matisse, Leo Castelli, Julius Held, Theodore Rousseau, Lee Krasner, Norton Simon, and others.
Biographical / Historical:
Eugene Thaw (1927- ) is an art dealer from New York, N.Y. James McElhinney (1952- ) is a painter and educator from New York, N.Y.
General:
Originally recorded on 2 sound discs. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 26 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
Transcript is available on the Archives of American Art's website.
Occupation:
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.thaw07
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93bde4440-dc2a-4206-a8bb-d0f0ebda50d4
EDAN-URL:
ead_collection:sova-aaa-thaw07
Online Media:

Charles Coleman Sellers papers

Creator:
Sellers, Charles Coleman, 1903-  Search this
Names:
Detroit Institute of Arts  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Pennsylvania Academy of the Fine Arts  Search this
Peale family  Search this
Benbridge, Henry, 1743-1812  Search this
Claypoole, James, ca. 1743-1800  Search this
Conarroe, George W., 1803-1882 or 4  Search this
Copley, John Singleton, 1738-1815  Search this
Delaplaine, Joseph, 1777-1824  Search this
Eichholtz, Jacob, 1776-1842  Search this
Field, Erastus Salisbury, 1805-1900  Search this
Guy, Francis, 1760-1820  Search this
Harrison, Birge, 1854-1929  Search this
Leslie, Charles Robert, 1794-1859  Search this
McMurtrie, James, fl. 1843-1864  Search this
Munkácsy, Mihály, 1844-1900  Search this
Pine, Robert Edge, 1730?-1788  Search this
Roesen, Severin, ca. 1815-ca. 1872  Search this
Rudy, Charles, 1904-  Search this
Rush, William, 1756-1833  Search this
Smibert, John, 1688-1751  Search this
Vanderlyn, John, 1775-1852  Search this
Wollaston, John, fl. 1736-1767  Search this
Extent:
2.2 Linear feet ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1940]-1978
Scope and Contents:
Artists files containing photographs and correspondence on artists Henry Benbridge, James Claypoole, George Washington Conarroe, John Singleton Copley, Joseph Delaplaine, Jacob Eichholtz, Erastus Salisbury Field, Francis Guy, Lowell Birge Harrison, Robert Charles Leslie, James McMurtrie, Mihaly Munkacsy, Robert Edge Pine, Severin Roesen, Charles Rudy, William Rush, John Smibert, John Vanderlyn, and John Wollaston. Also included are correspondence files pertaining to artistic subjects with the Pennsylvania Academy of the Fine Arts, the Detroit Institute of Arts, the Metropolitan Museum of Art, Peale family descendents (about Peale family artists), and others.
Biographical / Historical:
Art historian; Carlisle, Penn. Died 1980. Author of BENJAMIN FRANKLIN IN PORTRAITURE (1962) and MR PEALE'S MUSEUM: CHARLES WILSON PEALE AND THE FIRST POPULAR MUSEUM OF NATURAL SCIENCE AND ART (1980) and other works.
Related Materials:
Charles Sellers papers also located at Dickinson College.
Provenance:
Lent for microfilming 1987 as part of AAA's Philadelphia Arts Documentation Project. The papers were donated to the American Philosophical Society by Sellers' estate.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Art historians -- Pennsylvania -- Carlisle  Search this
Topic:
Art, American -- United States  Search this
Painting, American  Search this
Identifier:
AAA.sellchar
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a6571aaf-2e70-4599-ba94-3cd09a12fd8f
EDAN-URL:
ead_collection:sova-aaa-sellchar

Resume

Collection Creator:
Woodruff, Hale, 1900-1980  Search this
Container:
Box 1, Folder 1
Type:
Archival materials
Date:
undated
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Collection Citation:
Hale Woodruff papers, 1920-1977, bulk 1960s-1970s. Archives of American Art, Smithsonian Institution.
See more items in:
Hale Woodruff papers
Hale Woodruff papers / Series 1: Biographical Material
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9168df5f3-b07e-419c-84ef-9ca75407cc32
EDAN-URL:
ead_component:sova-aaa-woodhale-ref8
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Resume digital asset number 1

American drawings and watercolors / Carol Clark

Author:
Clark, Carol 1947 July 21-  Search this
Subject:
Lehman, Robert 1892-1969 Art collections  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Physical description:
xi, 259 p. : ill. (some col.) ; 29 cm
Type:
Catalogs
Place:
United States
New York (State)
New York
Date:
1992
C1992
19th century
20th century
Topic:
Drawing, American  Search this
Drawing  Search this
Watercolor painting, American  Search this
Watercolor painting  Search this
Drawing--Private collections  Search this
Watercolor painting--Private collections  Search this
Call number:
NC107.C585 1992
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_646540

Madonna and Child [picture postcard]

Collector:
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Artist:
Verrocchio, Andrea del, 1435?-1488.  Search this
Creator:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Collection Creator:
National Philatelic Collection, Smithsonian Institution.  Search this
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Extent:
1 Item (Ink on paper., 3.5" x 5.5".)
Type:
Archival materials
Greeting cards
Postcards
Picture postcards
Place:
Mary,
Date:
undated
Scope and Contents:
Image of art work by Andrea Del Verrocchio from the colletion of the Metropolitan Museum of Art.
Arrangement:
In series ?, box 26, grouping Greeting Cards - Holidays
Local Numbers:
AC0200-0000035 (AC Scan)
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Christmas  Search this
Holidays  Search this
Genre/Form:
Greeting cards
Postcards -- 1930-1940
Picture postcards -- 1930-1940
Collection Citation:
Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,
See more items in:
Victor A. Blenkle Postcard Collection
Victor A. Blenkle Postcard Collection / Series 3: Subjects / Greeting Cards - Holidays, Christmas
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep84a5249c3-008f-4b04-8bc0-9e1ffb8a4a16
EDAN-URL:
ead_component:sova-nmah-ac-0200-ref2319

A Merry Christmas [picture postcard]

Collector:
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Artist:
Verrocchio, Andrea del, 1435?-1488.  Search this
Creator:
Metropolitan Museum of Art (New York, N.Y.)  Search this
Collection Creator:
National Philatelic Collection, Smithsonian Institution.  Search this
Blenkle, Victor A., Dr., 1900-1978 (physician)  Search this
Extent:
1 Item (Ink on paper., 3.5" x 5.5".)
Type:
Archival materials
Greeting cards
Postcards
Picture postcards
Place:
Mary,
Date:
1910
Scope and Contents:
With a holly and berry border.
Arrangement:
In series ?, box 26, grouping Greeting Cards - Holidays
Local Numbers:
AC0200-0000036 (AC Scan)
Collection Restrictions:
The collection is open for research use.
Collection Rights:
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Topic:
Christmas  Search this
Holidays  Search this
Genre/Form:
Greeting cards
Postcards -- 1930-1940
Picture postcards -- 1930-1940
Collection Citation:
Victor A. Blenkle Postcard Collection, c. 1880-c. 1970, Archives Center, National Museum of American History, Smithsonian Institution,
See more items in:
Victor A. Blenkle Postcard Collection
Victor A. Blenkle Postcard Collection / Series 3: Subjects / Greeting Cards - Holidays, Christmas
Archival Repository:
Archives Center, National Museum of American History
GUID:
https://n2t.net/ark:/65665/ep8efd82ee5-3391-4167-8a69-87b82a014c50
EDAN-URL:
ead_component:sova-nmah-ac-0200-ref2320

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