The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
Scope and Content Note:
The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.
Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.
The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.
From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.
From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.
The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.
The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.
The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.
See Appendix for a list of Kraushaar Galleries exhibitions
Arrangement:
Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.
Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.
For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.
Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.
Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.
Missing Title
Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)
Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)
Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)
Series 4: Photographs, undated (box 54; 0.5 linear ft.)
Series 5: Artwork, [1926, 1938] (box 53; 2 items)
Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)
Historical Note:
Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.
In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.
When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.
Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).
Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.
During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.
Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."
While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."
Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.
In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.
Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"
Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."
In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.
By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.
In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.
By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:
Missing Title
1854 -- Charles W. Kraushaar born
1871 -- John F. Kraushaar born
1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street
1901 -- Galleries moved to 260 Fifth Avenue
1902 -- Antoinette Kraushaar born
1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition
1919 -- Galleries moved to 680 Fifth Avenue
[1920] -- Antoinette Kraushaar began assisting with the business
1924 -- Maurice Prendergast died
1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue
1938 -- William J. Glackens died
1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business
1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business
1948 -- Charles Prendergast died
1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries
1951 -- John Sloan died
1955 -- Galleries moved to 1055 Madison Avenue
1959 -- Carole Pesner joined Kraushaar Galleries
1964 -- Galleries extended into adjacent building
1981 -- Galleries moved to 724 Fifth Avenue
1986 -- Katherine Kaplan joined Kraushaar Galleries
1988 -- Antoinette Kraushaar retired from day-to-day management of the business
1992 -- Antoinette Kraushaar died
Appendix: List of Kraushaar Galleries Exhibitions:
The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.
Missing Title
Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour
Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner
Jan., 1913 -- Paintings by Ignacio Zuloaga
May, 1913 -- Etchings by Seymour Haden
June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour
Oct., 1913 -- Etchings by Frank Brangwyn
Jan., 1914 -- Ignacio Zuloaga
Mar., 1914 -- Paintings by Alphonse Legros
Apr., 1914 -- George Luks
May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler
undated, 1915 -- Paintings by John Lavery
Jan.-Feb., 1917 -- James McNeill Whistler's White Girl
Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack
Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan
Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros
Oct., 1917 -- Monoprints by Salvatore Antonio Guarino
Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth
Jan., 1918 -- Recent Paintings by John Lavery
Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks
Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack
Mar., 1918 -- Paintings by John Sloan
Apr.-May, 1918 -- Paintings by A. L. Bouche
May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack
Oct., 1918 -- Oil Paintings by William Scott Pyle
Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young
Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino
Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack
Mar., 1919 -- Paintings and Drawings by John Sloan
May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder
Sept., 1919 -- Work by Jean Louis Forain
Oct., 1919 -- Etchings and Lithographs by Alphonse Legros
Jan., 1920 -- Recent Paintings by George Luks
Feb., 1920 -- Recent Paintings by John Sloan
Feb., 1920 -- Paintings by William Scott Pyle
Mar., 1920 -- Recent Paintings by Gifford Beal
Apr., 1920 -- Recent Paintings by Augustus Vincent Tack
Apr., 1920 -- Paintings by Henri Le Sidaner
Apr., 1920 -- Paintings and Drawings by Jean Louis Forain
Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers
May, 1920 -- Paintings by Henrietta M. Shore
Jan., 1921 -- Paintings by French and American Artists
Jan.-Feb., 1921 -- Paintings by George Luks
Feb., 1921 -- New Paintings by Augustus Vincent Tack
Apr., 1921 -- John Sloan Retrospective
Summer, 1921 -- French and American Artists
Oct., 1921 -- Paintings of Mountford Coolidge
Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner
Nov., 1921 -- Frank Van Vleet Tompkins
Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art
Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks
Feb., 1922 -- Paintings by Augustus Vincent Tack
Mar., 1922 -- Paintings and Watercolors by Gifford Beal
Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois
Summer, 1922 -- Paintings by Modern Masters of American and European Art
Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks
Jan., 1923 -- Exhibition of Paintings by George Luks
Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack
Mar., 1923 -- Landscapes by Will Shuster
Mar., 1923 -- Paintings by Samuel Halpert
Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal
Apr.-May, 1923 -- Paintings by John Sloan
May, 1923 -- Paintings by Frank Van Vleet Tompkins
June, 1923 -- Etchings by Marius A. J. Bauer
Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach
Dec., 1923 -- Etchings and Lithographs by Alphonse Legros
Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff
Jan., 1924 -- Paintings by Celebrated American Artists
Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois
Apr., 1924 -- New Paintings by George Luks
May, 1924 -- Paintings by Marjorie Phillips
Summer, 1924 -- French and American Modern Artists
Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach
Nov., 1924 -- Watercolors by Seven Americans
Dec., 1924 -- French Paintings
Jan., 1925 -- Paintings by John Sloan
Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition
Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay
Apr., 1925 -- Paintings by William J. Glackens
Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach
undated, 1926 -- Lower Broadway by W. Walcot
Feb., 1926 -- Paintings by Paul Burlin
Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack
Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal
Apr., 1926 -- John Sloan
Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson
Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists
Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan
Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry
Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach
Jan., 1927 -- French Drawings and Prints
Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan
Mar., 1927 -- Gifford Beal
Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent
Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers
Apr., 1927 -- Paintings and Etchings by Walter Pach
Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage
Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis
May, 1927 -- Paintings by Guy Pène Du Bois
Summer, 1927 -- Paintings by American Artists
Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat
Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel
Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene
Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach
Dec., 1927 -- Paintings by Guy Pène Du Bois
Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle
Jan.-Feb., 1928 -- Paintings by S. J. Peploe
Feb., 1928 -- Drawings by Henri Fantin-Latour
Feb., 1928 -- Pastels and Drawings by Margarett Sargent
Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton
Feb.-Mar., 1928 -- Sculpture by William Zorach
Mar., 1928 -- Recent Paintings by Marjorie Phillips
Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens
Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England
Oct., 1928 -- Modern French Paintings, Watercolors and Drawings
Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey
Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson
Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach
Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz
Jan., 1929 -- Exhibition of Paintings by Margarett Sargent
Jan., 1929 -- Watercolors by Rodin
Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler
Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois
Feb.-Mar., 1929 -- Paintings by Gifford Beal
Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers
Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan
Apr., 1929 -- Exhibition of Paintings by Arnold Friedman
Apr., 1929 -- Sculpture by Harriette G. Miller
May, 1929 -- Paintings by Howard Ashman Patterson
May, 1929 -- Paintings by William Meyerowitz
Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings
Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)
Jan., 1930 -- Paintings by Paul Bartlett
Feb., 1930 -- Watercolors by Auguste Rodin
Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois
Summer, 1930 -- Paintings by American Artists
Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast
Nov., 1930 -- Paintings by Ruth Jonas
Nov., 1930 -- Sculpture by Harriette G. Miller
Jan., 1931 -- Paintings and Watercolors by Richard Lahey
Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson
Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal
Mar., 1931 -- Paintings and Watercolors by Walter Pach
Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter
May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey
Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings
Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John
Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec
Jan., 1932 -- Watercolors by Pierre Brissaud
Feb., 1932 -- Paintings and Drawings by A. S. Baylinson
Mar., 1932 -- Watercolors and Pastels by French and American Artists
Apr., 1932 -- Paintings by Nan Watson
May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast
June-Aug., 1932 -- Paintings and Watercolors by American Artists
Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists
Jan., 1933 -- Paintings by Paul Bartlett
Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour
Feb., 1933 -- Etchings of Dogs by Bert Cobb
Feb.-Mar., 1933 -- Paintings by American Artists
Feb.-Apr., 1933 -- Paintings by Contemporary Americans
Apr., 1933 -- Paintings by Maurice Prendergast
Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings
Oct.-Nov., 1933 -- Drawings by Emily W. Miles
Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs
Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1933 -- Watercolors by Gifford Beal
Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"
Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan
Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs
Nov.-Dec., 1934 -- Paintings by Gifford Beal
Mar., 1935 -- Complete Collection of Etchings by Mahonri Young
July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz
Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast
Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg
Mar., 1936 -- Paintings by Louis Bouché
Apr., 1936 -- Paintings by Gifford Beal
Oct.-Nov., 1936 -- Loan Collection of French Paintings
Dec., 1936 -- Monotypes in Color by Maurice Prendergast
Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg
Jan., 1937 -- Paintings of Flowers by William J. Glackens
Feb., 1937 -- Etchings by John Sloan
Feb., 1937 -- A Group of American Paintings
Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir
Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast
Dec., 1937 -- American Watercolors
Jan.-Feb., 1938 -- Paintings by Gifford Beal
Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman
Apr., 1938 -- Paintings by Louis Bouché
May, 1938 -- Paintings and Pastels by Randall Davey
Oct., 1938 -- Selected Paintings by Modern French and American Artists
Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938
Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller
Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others
Jan., 1939 -- Paintings by H. H. Newton
Oct., 1939 -- French and American Paintings
Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes
Nov., 1939 -- Paintings and Watercolors by Russell Cowles
Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché
Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg
Mar.-Apr., 1940 -- Paintings by Maurice Prendergast
Apr.-May, 1940 -- Watercolors by Charles Kaeselau
May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian
Oct., 1940 -- Drawings by American Artists
Nov., 1940 -- Walt Dehner
Mar., 1941 -- John Koch
May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal
Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles
Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg
Dec., 1941 -- Charles Prendergast
Jan., 1942 -- Paintings by Samuel Brecher
Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois
Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché
Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"
Dec., 1942 -- Paintings from the Period of the Last War
Feb., 1943 -- Paintings and Watercolors by William Dean Fausett
Mar., 1943 -- Paintings by John Hartell
May-July, 1943 -- Watercolors by Contemporary American Artists
Feb.-Mar., 1944 -- Samuel Brecher
Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan
Mar., 1944 -- Vaughn Flannery
Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles
Apr.-May, 1944 -- Recent Paintings by Louis Bouché
May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller
Oct., 1944 -- Esther Williams
Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast
Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition
Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan
Jan.-Feb., 1945 -- Paintings by Gifford Beal
Feb.-Mar., 1945 -- Paintings by Andrée Ruellan
Apr.-May, 1945 -- Charles Locke
May-June, 1945 -- William Dean Fausett
Oct., 1945 -- Paintings by John Hartell
Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase
Nov.-Dec., 1945 -- Gouaches by Cecil Bell
Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman
undated, 1946 -- Russell Cowles
Jan.-Feb., 1946 -- Richard Lahey
Feb., 1946 -- John Koch
Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt
Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg
Mar., 1946 -- Iver Rose
Apr., 1946 -- Louis Bouché
Apr.-May, 1946 -- Russell Cowles
May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith
Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson
Nov., 1946 -- Guy Pène Du Bois
Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition
Jan., 1947 -- Karl Schrag
Feb.-Mar., 1947 -- Sculpture by Robert Laurent
Feb.-Mar., 1947 -- Paintings by Iver Rose
Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith
Apr., 1947 -- Charles Prendergast
Apr., 1947 -- Louis Bouché
Apr.-May, 1947 -- Esther Williams
Oct.-Nov., 1947 -- Anna Licht
Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens
Mar., 1948 -- Russell Cowles
Apr.-May, 1948 -- Bernard Arnest
Aug.-Sept., 1948 -- New York Paintings and Watercolors
Oct.-Nov., 1948 -- Kenneth Evett
Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller
Jan.-Feb., 1949 -- John Hartell
Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches
Oct., 1949 -- Contemporary Paintings
Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors
Jan.-Feb., 1950 -- James Penney
Feb.-Mar., 1950 -- Paintings by Karl Schrag
Mar.-Apr., 1950 -- Russell Cowles
Jan.-Feb., 1951 -- William Sommer
Feb., 1951 -- Prints and Drawings by Various Artists
Feb., 1951 -- Paintings by Louis Bouché
Mar., 1951 -- Kenneth Evett
Apr.-May, 1951 -- Paintings by Gallery Artists
May-July, 1951 -- Contemporary American Watercolors
July-Aug., 1951 -- Paintings on the Summer Theme
Sept.-Oct., 1951 -- Vaughn Flannery
Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists
Nov., 1951 -- Paintings by John Koch
Nov.-Dec., 1951 -- Joe Lasker
Dec., 1951 -- Small Prints and Drawings
Jan., 1952 -- Recent Gouaches by William Kienbusch
Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career
Feb.-Mar., 1952 -- Andrée Ruellan
Mar.-Apr., 1952 -- Bernard Arnest
Apr.-May, 1952 -- Recent Sculpture by Robert Laurent
May, 1952 -- Recent Paintings by Contemporary American Artists
May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld
July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag
Nov., 1952 -- Karl Schrag
Dec., 1952-Jan. 1953 -- Eight Oregon Artists
Jan., 1953 -- Charles Prendergast Memorial Exhibition
Jan.-Feb., 1953 -- John Hartell
May, 1953 -- John Heliker
June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag
Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay
Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan
Oct.-Nov., 1953 -- Paintings by E. Powis Jones
Oct.-Nov., 1953 -- Recent Works by John Koch
Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology
Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy
Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon
Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin
Feb.-Mar., 1954 -- Russell Cowles
Mar.-Apr., 1954 -- James Penney
Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures
Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey
Jan.-Feb., 1955 -- James Lechay
Feb., 1955 -- Mobiles by George Rickey
Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)
Mar.-Apr., 1955 -- Jane Wasey
Apr., 1955 -- Recent Work by Joe Lasker
May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists
Jan., 1956 -- Carl Morris
Jan.-Feb., 1956 -- John Laurent
Feb.-Mar., 1956 -- William Kienbusch
Mar., 1956 -- Andrée Ruellan
Mar.-Apr., 1956 -- Karl Schrag
Apr.-May, 1956 -- John Heliker
May, 1956 -- Monotypes by Maurice Prendergast
Oct., 1956 -- The Eight
Jan.-Feb., 1957 -- Paintings by John Hartell
Apr., 1957 -- James Penney
Apr.-May, 1957 -- John Heliker
May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)
June-July, 1957 -- 20th Century American Artists
Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)
Nov., 1957 -- Marguerite Zorach
Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke
Jan.-Feb., 1958 -- Tom Hardy
Feb.-Mar., 1958 -- John Koch
Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast
Feb.-Mar., 1958 -- Cecil Bell
Mar., 1958 -- Karl Schrag
Mar., 1958 -- Carl Morris
Mar.-Apr., 1958 -- Louis Bouché
Apr., 1958 -- Paintings and Drawings by Joe Lasker
Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman
Apr.-May, 1958 -- Sculpture by Henry Mitchell
May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag
July, 1958 -- Still Life Paintings and Watercolors by American Artists
Oct.-Nov., 1958 -- Kenneth Evett
Nov., 1958 -- Elsie Manville
Nov.-Dec., 1958 -- John Laurent
Jan., 1959 -- Kinetic Sculpture by George Rickey
Jan.-Feb., 1959 -- Bernard Arnest
Mar., 1959 -- Karl Schrag
Mar.-Apr., 1959 -- Paintings by Joe Lasker
Apr.-May, 1959 -- Henry Mitchell
Sept.-Oct., 1959 -- Robert Searle
Oct.-Nov., 1959 -- Russell Cowles
Nov., 1959 -- Caseins and Paintings by William Kienbusch
Dec., 1959 -- Paintings by Vaughn Flannery
Feb., 1960 -- James Lechay
Apr., 1960 -- Landscapes by John Sloan
Apr.-May, 1960 -- John Guerin
May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists
Oct., 1960 -- Ainslie Burke
Oct.-Nov., 1960 -- Leon Goldin
Nov.-Dec., 1960 -- Ulfert Wilke
Jan., 1961 -- Leonard DeLonga
Jan., 1961 -- Kenneth Evett
Jan.-Feb., 1961 -- Walter Feldman
Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists
Mar., 1961 -- Paintings by Ralph Dubin
Mar.-Apr., 1961 -- James Penney
Apr.-May, 1961 -- John Koch
June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach
Sept., 1961 -- Works by Contemporary Americans
Oct., 1961 -- George Rickey: Kinetic Sculpture
Oct.-Nov., 1961 -- Carl Morris
Nov.-Dec., 1961 -- Peggy Bacon
Dec., 1961 -- Selected Works by Twentieth-Century Americans
Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett
Jan.-Feb., 1962 -- Louis Bouché
Feb.-Mar., 1962 -- Karl Schrag
Mar., 1962 -- Marguerite Zorach
Apr., 1962 -- John Laurent
Apr.-May, 1962 -- Sculpture by Tom Hardy
May-June, 1962 -- Drawings by Contemporary American Artists
July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists
Oct., 1962 -- Bernard Arnest
Feb., 1963 -- William Kienbusch
Feb.-Mar., 1963 -- John Guerin
Mar., 1963 -- John Hartell
Sept.-Oct., 1963 -- Andrée Ruellan
Oct.-Nov., 1963 -- Ainslie Burke
Nov., 1963 -- Walter Feldman
Dec., 1963 -- Drawings by John Koch
Dec., 1963 -- Paintings by Contemporary Americans
Jan., 1964 -- Leonard DeLonga
Jan.-Feb., 1964 -- Joe Lasker
Feb.-Mar., 1964 -- Leon Goldin
Mar., 1964 -- Paintings by Ralph Dubin
Apr., 1964 -- Carl Morris
Apr.-May, 1964 -- Paintings and Drawings by John Heliker
Oct.-Nov., 1964 -- Louis Bouché
Nov.-Dec., 1964 -- Karl Schrag
Dec., 1964 -- Kenneth Evett
Feb., 1965 -- Russell Cowles
Feb.-Mar., 1965 -- James Lechay
Mar.-Apr., 1965 -- James Penney
Apr.-May, 1965 -- Gifford Beal
Feb., 1966 -- Dennis Leon
Feb.-Mar., 1966 -- Henry Schnakenberg
Mar.-Apr., 1966 -- John Hartell
Apr., 1966 -- Elsie Manville
Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries
Oct.-Nov., 1966 -- Tom Hardy
Nov.-Dec., 1966 -- Francis Chapin
Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs
Jan.-Feb., 1967 -- Leonard DeLonga
Feb.-Mar., 1967 -- Carl Morris
Mar.-Apr., 1967 -- Ainslie Burke
Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors
May-June, 1967 -- William Glackens
Oct., 1967 -- Kenneth Callahan
Oct.-Nov., 1967 -- John Laurent
Jan.-Feb., 1968 -- Dennis Leon
Feb.-Mar., 1968 -- Robert La Hotan
Apr., 1968 -- John Guerin
Apr.-May, 1968 -- Leon Goldin
Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings
Oct.-Nov., 1968 -- Karl Schrag
Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes
Dec., 1968-Jan., 1969 -- Group Exhibition
Jan., 1969 -- Elsie Manville
Mar., 1969 -- Kenneth Evett
Apr.-May, 1969 -- James Penney
Sept.-Oct., 1969 -- New Works by Contemporary Artists
Oct.-Nov., 1969 -- John Hartell: Exhibition
Nov., 1969 -- Peggy Bacon
Dec., 1969 -- Selected Examples by American Artists 1900-1930
Jan., 1970 -- Leonard DeLonga
Feb., 1970 -- Joe Lasker
Mar., 1970 -- Group Exhibition
Mar.-Apr., 1970 -- Dennis Leon
Apr.-May, 1970 -- Jerome Myers
Oct.-Nov., 1970 -- Tom Hardy
Jan.-Feb., 1971 -- Jane Wasey
Mar.-Apr., 1971 -- Kenneth Callahan
Oct., 1971 -- Ainslie Burke
Nov.-Dec., 1971 -- Karl Schrag
Feb.-Mar., 1972 -- John Koch
Mar.-Apr., 1972 -- Robert La Hotan
Apr.-May, 1972 -- Leon Goldin
May-June, 1972 -- Selected Works by 20th Century Americans
Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings
Oct.-Nov., 1972 -- John Hartell
Nov.-Dec., 1972 -- Peggy Bacon
Dec., 1972 -- 20th Century Americans
Jan., 1973 -- Leonard DeLonga
Feb., 1973 -- Carl Morris
Mar., 1973 -- James Lechay
Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings
Apr.-May, 1973 -- Jerome Witkin
May-June, 1973 -- Kenneth Evett: Watercolors
Oct.-Nov., 1973 -- Kenneth Callahan
Jan., 1974 -- Joe Lasker
Jan.-Feb., 1974 -- Bernard Arnest
Feb.-Mar., 1974 -- Concetta Scaravaglione
Oct., 1974 -- Ainslie Burke
Oct.-Nov., 1974 -- James Penney
Jan., 1975 -- Tom Hardy
Jan.-Feb., 1975 -- Karl Schrag
Feb.-Mar., 1975 -- Robert La Hotan
Mar.-Apr., 1975 -- William Kienbusch
Apr., 1975 -- Elsie Manville
Apr.-May, 1975 -- Gifford Beal
Oct.-Nov., 1975 -- John Hartell
Nov., 1975 -- Daniel O'Sullivan
Mar., 1976 -- Jerome Witkin
May, 1976 -- Linda Sokolowski
Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After
Oct., 1976 -- Leonard DeLonga
Nov.-Dec., 1976 -- Kenneth Callahan
Jan., 1977 -- James Lechay
Mar., 1977 -- Karl Schrag
Mar.-Apr., 1977 -- David Cantine
Oct.-Nov., 1977 -- John Hartell
Nov.-Dec., 1977 -- Ainslie Burke
Feb., 1978 -- Robert La Hotan
Apr., 1978 -- Elsie Manville
Oct., 1978 -- Tom Hardy
Oct.-Nov., 1978 -- Jerome Witkin
Jan.-Feb., 1979 -- Joe Lasker
Feb., 1979 -- Kenneth Evett
Feb.-Mar., 1979 -- Karl Schrag
Mar.-Apr., 1979 -- Carl Morris
Apr.-May, 1979 -- Linda Sokolowski
Oct.-Nov., 1979 -- Daniel O'Sullivan
Feb.-Mar., 1980 -- Kenneth Callahan
Mar., 1980 -- Ainslie Burke
Oct., 1980 -- John Hartell
Jan., 1981 -- Leonard DeLonga
Feb., 1981 -- James Lechay
Feb.-Mar., 1981 -- Robert La Hotan
Mar.-Apr., 1981 -- Jerry Atkins
Apr.-May, 1981 -- Ben Frank Moss
Jan.-Feb., 1982 -- Jerome Witkin
Feb.-Mar., 1982 -- Elsie Manville
Mar.-Apr., 1982 -- Karl Schrag
Apr.-May, 1982 -- Linda Sokolowski
May-June, 1982 -- David Cantine
Sept.-Oct., 1982 -- Kenneth Callahan
Oct.-Nov., 1982 -- Joe Lasker
Nov.-Dec., 1982 -- Daniel O'Sullivan
Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition
Feb.-Mar., 1983 -- Jerry Atkins
Mar.-Apr., 1983 -- John Hartell
Apr.-May, 1983 -- John Heliker
May-June, 1983 -- Kenneth Evett
Oct., 1983 -- Concetta Scaravaglione
Oct.-Nov., 1983 -- Ben Frank Moss
Nov.-Dec., 1983 -- Russell Cowles
Dec., 1983-Jan., 1984 -- 20th Century Americans
Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad
Feb.-Mar., 1984 -- Robert La Hotan
Mar., 1984 -- David Smalley
Apr., 1984 -- Carl Morris
May, 1984 -- Karl Schrag
July, 1984 -- Drawings by 20th Century Americans
July-Aug., 1984 -- Collages and Drawings by Joseph Heil
Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy
Sept.-Oct., 1984 -- James Penney: Memorial Exhibition
Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin
Nov.-Dec., 1984 -- Isabelle Siegel
Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture
Jan.-Feb., 1985 -- James Lechay
Feb.-Mar., 1985 -- Ainslie Burke
Mar., 1985 -- Karen Breunig
Apr., 1985 -- Kenneth Callahan
Oct., 1985 -- Elsie Manville
Oct.-Nov., 1985 -- William Glackens
Jan.-Feb., 1986 -- Linda Sokolowski
Feb.-Mar., 1986 -- Jerry Atkins
Apr.-May, 1986 -- Jane Wasey
Oct.-Nov., 1986 -- John Hartell
Nov.-Dec., 1986 -- Karl Schrag
Feb.-Mar., 1987 -- Kenneth Evett
Apr.-May, 1987 -- Ben Frank Moss
May-June, 1987 -- David Smalley
Oct.-Nov., 1987 -- Isabelle Siegel
Feb.-Mar., 1988 -- Karen Breunig
Mar.-Apr., 1988 -- Leon Goldin
Sept.-Oct., 1988 -- Elsie Manville
Oct.-Nov., 1988 -- James Lechay
Jan.-Feb., 1989 -- Karl Schrag
Feb.-Mar., 1989 -- Linda Sokolowski
Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties
Jan.-Feb., 1990 -- Gifford Beal: Watercolors
Mar., 1990 -- Robert La Hotan: Recent Paintings
Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings
May-June, 1990 -- David Smalley: Recent Sculpture
May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...
Oct., 1990 -- Isabelle Siegel
Nov., 1990 -- Leon Goldin
Jan.-Feb., 1991 -- Karl Schrag
Feb.-Mar., 1991 -- Joe Lasker
Apr., 1991 -- Ainslie Burke
Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes
Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper
Mar., 1992 -- Tabitha Vevers
May-June, 1992 -- Sonia Gechtoff
Oct.-Nov., 1992 -- James Lechay
Nov.-Dec., 1992 -- Karl Schrag
Mar., 1993 -- Leon Goldin: Works on Paper
Apr.-May, 1993 -- Robert La Hotan
Oct., 1993 -- David Smalley: Sculpture Inside and Out
Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980
Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)
Mar.-Apr., 1994 -- Tabitha Vevers
Oct.-Nov., 1994 -- Linda Sokolowski
Nov.-Dec., 1994 -- Karl Schrag
Jan.-Feb., 1995 -- Langdon Quin
Mar.-Apr., 1995 -- Robert La Hotan
Sept.-Oct., 1995 -- Sonia Gechtoff
Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper
Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995
Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors
Mar.-Apr., 1997 -- Tabitha Vevers
Oct.-Nov., 1997 -- James Lechay
Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest
Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper
Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere
Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings
Nov.-Dec., 1998 -- John Gill
Jan.-Feb., 1999 -- Robert La Hotan
Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart
Nov.-Dec., 1999 -- Kathryn Wall
Jan.-Feb., 2000 -- Elsie Manville
Sept.-Oct., 2000 -- Joe Lasker
Oct.-Nov., 2000 -- James Lechay
Oct.-Nov., 2000 -- Tabitha Vevers
May-June, 2001 -- Kenneth Callahan: Drawings
Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper
Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow
undated, 2003 -- Ann Sperry
Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s
Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements
Nov.-Dec., 2003 -- Tabitha Vevers
Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper
May-July, 2004 -- Anne Frank: A Private Photo Album
Jan.-Feb., 2005 -- John Gill: Ceramics
Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights
Related Material:
An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.
Separated Material:
In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.
Provenance:
53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. A fragile original scrapbook is restricted. Contact Reference Services for more information.
Rights:
Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, with the bulk of the material dating from 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the Works Progress/Projects Administration's (WPA) Federal Art Project (FAP) in addition to series documenting his work as a writer and art critic. Material includes correspondence, reports, artist files, scrapbooks, printed material, and photographs.
Scope and Content Note:
The papers of Holger Cahill (1887-1960) date from 1910 to 1993, bulk 1910-1960, and measure 15.8 linear feet. The collection offers researchers fairly comprehensive documentation of Cahill's directorship of the FAP in addition to series documenting his work as a writer and art critic. FAP records include national and state administrative reports, records of community art centers, photographic documentation of state activities, artist files, divisional records about teaching, crafts, murals, and poster work, files concerning the Index of American Design, scrapbooks, and printed material.
Arrangement:
The collection is arranged into nine series:
Missing Title
Series 1: Biographical Material and Personal Papers, 1931-1988 (Box 1; 19 folders)
Series 2: Correspondence Files, 1922-1979, 1993 (Boxes 1-2; 1.5 linear ft.)
Series 3: Works Progress Administration Federal Art Project, 1934-1970 (Boxes 2-14, 18, MMs009; 10.75 linear ft.)
Series 4: Writings, Lectures and Speeches, 1916-1960 (Boxes 14-15, 18; 1.0 linear ft.)
Series 5: Minutes of Meetings and Panel Discussions, Non-FAP, 1939-1947 (Box 15; 5 folders)
Series 6: Notes and Research Material, 1935-1970 (Boxes 15-16; 0.25 linear ft.)
Series 7: Artwork, undated (Boxes 16, 18; 2 folders)
Series 8: Printed Material, 1910-1985 (Boxes 16-17; 1.8 linear ft.)
Series 9: Photographs, circa 1917-1960 (Box 17; 6 folders)
Biographical Note:
Holger Cahill was born Sveinn Kristjan Bjarnarson in Iceland in a small valley near the Arctic Circle, on January 13, 1887. His parents, Bjorn Jonson and Vigdis Bjarnadottir, immigrated to the United States from Iceland sometime later in the 1880s. In 1904, his father deserted the family, forcing Sveinn to be separated from his mother and sister to work on a farm in North Dakota. He ran away and wandered from job to job until settling in an orphanage in western Canada, where he attended school and became a voracious reader.
As a young man, he worked at many different jobs and attended night school. While working on a freighter, he visited Hong Kong, beginning his life-long interest in the Orient. Returning to New York City, he eventually became a newspaper reporter, continued his studies at New York University, and changed his name to Edgar Holger Cahill. In 1919 he married Katherine Gridley of Detroit. Their daughter, Jane Ann, was born in 1922, but the couple divorced in 1927.
Cahill met John Sloan circa 1920, and they shared a residence. Cahill also wrote publicity (until 1928) for the Society of Independent Artists, through which he made many friends in the arts. From 1922 to 1931, he worked under John Cotton Dana at the Newark Museum, where he received his basic experience in museum work, organizing the first large exhibitions of folk art.
From 1932 to 1935, he was the director of exhibitions for the Museum of Modern Art. In 1935, Cahill was appointed director of the Works Progress/Projects Administration (WPA) Federal Art Project (FAP), until its end in June 1943. In 1938, Cahill organized a countrywide exhibition "American Art Today" for the New York World's Fair. He also married MoMa curator Dorothy Canning Miller in that year.
Profane Earth, Cahill's first novel, was published in 1927, followed by monographs on Pop Hart and Max Weber, miscellaneous short stories, and a biography of Frederick Townsend Ward, entitled A Yankee Adventurer: The Story of Ward and the Taiping Rebellion. Following the end of the Federal Art Project, Cahill wrote two novels, Look South to the Polar Star (1947) and The Shadow of My Hand (1956).
Holger Cahill died in Stockbridge, Massachusetts in July 1960.
Provenance:
The Holger Cahill papers were donated to the Archives of American Art through a series of gifts by Cahill's widow, Dorothy C. Miller, between 1964 and 1995.
Restrictions:
The microfilm of this collection has been digitized and is available online via the Archives of American Art 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.
An interview of Carl Morris conducted 1983 Mar. 23, by Sue Ann Kendall, for the Archives of American Art's Northwest Oral History Project, at the artist's studio in Portland, Or.
Morris speaks of his family background; his early interest in art; his education at the Chicago Art Institute; becoming the head of the Spokane Federal Art Project; the changes in art during the 1930s; the Northwest arts community and his relationship to it; mysticism; and collectors, including Dr. Richard E. Fuller. He recalls Clyfford Still.
Biographical / Historical:
Carl Morris (1911-1993) was a painter from Portland, Or.
General:
Originally recorded on 4 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 3 hrs., 42 min.
Provenance:
This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.
Topic:
Artists -- Northwestern States -- Interviews Search this
Carl Morris was an abstract painter. He was born in 1911 and died June 3, 1993; Portland, Oregon. His wife, Hilda, was a sculptor. Hilda was born in 1911 and died on May 15,1991.
Provenance:
Donated 1992 by Carl Morris.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Correspondence, photographs, clippings, magazines and statements by 20th century artists on their works bought for the Roland P. Murdock Collection of the Wichita Art Museum, Wichita, Kansas, by Navas.
Artists represented include: Peggy Bacon, Louis Bouche, William Brice, Charles E. Burchfield, Paul Burlin, Kenneth Callahan, John S. Copley, Russell Cowles, John S. Curry, Stuart Davis, Jose de Creeft, Adolf Dehn, Walt Dehner, Charles Demuth, Arthur Dove, Guy Pène du Bois, Thomas Eakins, William Glackens, Raphael Gleitsmann, George Grosz, John E. Heliker, Winslow Homer, Edward Hopper, Alexander R. James, Jonah Kinigstein, Frederick D. Kirsch, Walt Kuhn, Yasuo Kuniyoshi, Gaston Lachaise, James Lechay, John Marin, Reginald Marsh, Henry E. Mattson, Carl Morris, George L. K. Morris, Roy Moyer, Charles Oscar, James Penney, Anne Poor, Henry V. Poor, Albert Pinkham Ryder, Henry E. Schnakenberg, Ben Shahn, Charles Sheeler, John Sloan, Houghton C. Smith, Elizabeth Sparhawk-Jones, Franklin C. Watkins, Max Weber, Clara M. Williamson, Karl Zerbe, and William Zorach.
Biographical / Historical:
Elizabeth S. Navas (1885-1979) was an art collector and patron in New York City. Navas was designated to assemble the Roland P. Murdock Collection of the Wichita Art Museum under the terms of the will of her friend, Louise Caldwell Murdock (1858-1915), widow of Roland P. Murdock.
Provenance:
Donated 1963 by Elizabeth S. Navas.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
United States -- Economic conditions, 1918-1945 -- Washington (State)
Date:
circa 1840s-1997
Summary:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 12.7 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Scope and Content Note:
The papers of artist, photographer, museum director, anthropologist, and writer Robert Bruce Inverarity are dated circa 1840s-1997 and measure 13.8 linear feet. Biographical information, correspondence, writings and notes, subject files, art work, scrapbooks, sound recordings, printed material and photographs are found within the papers. They document Inverarity's work as Director of the Federal Art Project in Seattle and Director of the Art and Craft Project for the State of Washington, as well as his other professional work. Nineteenth century material consists of a Japanese print, printed material, and photographs.
Among the biographical information are awards and certificates, biographical and genealogical notes, and educational records. Correspondence concerns Inverarity's activities as Director of the WPA Federal Arts Project in Washington State, 1936-1941. Additional personal and professional correspondence, 1929-1993, documents his activities as a museum director, consultant, collector, and writer. Among the friends and colleagues with whom he corresponded are: Max Ernst and Dorothea Tanning, Rockwell and Sally Kent, Stanton MacDonald-Wright, Wolfgang Palen, Juliet and Man Ray, Mark Tobey, Edward Weston, and various individuals associated with the WPA.
Manuscripts of a few of Inverarity's many articles on topics such as anthropology, museology, and information storage and retrieval are among his writings and notes. Also included are the manuscript of an unpublished book, Tobey Remembered, along with drafts, notes, correspondence, research materials, and photocopies of Tobey's letters to him and others. Other writings consist of book reviews, children's books, a catalog of the Inverarity Collection, and a copy of his 1946 master's thesis, "The Social-Economic Position of the American Artist." Several journals, 1928-1966, survive, including one that records his 1932 trip to study the Haida Indians of the Queen Charlotte Islands.
Subject files include general subjects such as "Folk Art" and "Preservation." Files on the museums where Inverarity was the director contain some official records as well as general information. Art work by Inverarity includes eight volumes of sketch books, 1928-1942, commercial work for Boeing, notes and drawings for book designs. Among the work by other artists are drawings, paintings and prints by friends. Of particular interest are display panels for a small exhibit on airbrush stencil prints produced by the Washington State WPA Federal Art Project. Other noteworthy items are pencil sketches and a watercolor by Mark Tobey, and prints by Hiroshige and Jan Matulka.
Five scrapbooks, 1928-1979, contain newspaper clippings, miscellaneous printed items, and a small number of photographs and letters. Three volumes document his career as an artist and museum director. One consists of biographical information and items designed by Inverarity, and another concerns publication and marketing of his monograph Art of the Northwest Coast Indians.
Sound recordings consist of interviews and conversations. An extensive interview with Inverarity about his life and career was conducted by Craig Gilborn in 1990. Bruce and Jane Inverarity in conversation with former colleague Ernie Johnson and his wife Helen about his departure from the Museum of International Folk Art were recorded in 1980. Also included is a 1981 conversation with Grace T. Stevenson containing references to Mark Tobey and Morris Graves.
Printed material includes many items about or produced by the WPA Federal Art Project. Among the items written by Inverarity are many articles on a wide variety of topics, his book Art of the Northwest Coast Indians, and two published portfolios. Printed material by other authors includes articles, books and reports about or mentioning Inverarity, and books designed or illustrated by him. Among the miscellaneous printed items are catalogs and brochures of the schools where Inverarity taught and studied, and a few ephemeral items designed by him.
Photographs are of art work, people, places, the Washington State WPA Federal Art Project, and miscellaneous subjects. All photographs known to be by Inverarity are clearly marked. Art work includes views of Inverarity's collection of his own work and that of other artists hanging in his home. Photographs of people include artists, friends, colleagues, and various groups. Of special interest are Inverarity's portraits of artists, among them Marcel Duchamp, Max Ernst, Morris Graves, Hilaire Hiler, Rico Le Brun, Stanton Macdonald-Wright, Man Ray, Dorothea Tanning, and Mark Tobey. Photographs of places include the museums where Inverarity was director, places in which he lived, and travel pictures. Of note are a large group of photographs (copy prints) taken in 1932 while studying the Haida Indians in British Columbia. Nineteenth century photographs of family homes, Europe, and South America may have been taken by his father. Photographs of the Washington State WPA Federal Arts Project are of individual works of art, exhibition installations, mosaic procedures and local art centers. Many, probably intended for display, are mounted in groups on large cardboard panels. Miscellaneous subjects include art photographs by Inverarity and the microreader he invented.
Arrangement:
The collection is arranged as nine series. Correspondence is in chronological order, Biographical Information and Subject Files are arranged alphabetically by folder title. Other series have been organized into subseries and arrangement is as described in the Series Descriptions/Container List below. Unless noted otherwise, material within folders is arranged chronologically.
Missing Title
Series 1: Biographical Information, 1934-1997, undated (Box 1, OV 18; 0.25 linear ft.)
Series 2: Correspondence, 1928-1993, undated (Box 1; 0.75 linear ft.)
Series 3: Writings and Notes, 1928-1993, undated, (Boxes 2-3; 1.5 linear ft.)
Series 4: Subject Files, 1938-1990, undated (Boxes 3-6, OV 19-20; 2.5 linear ft.)
Series 5: Art Work, circa 1840s-1969, undated (Boxes 6, 12, 16, OV 21; 1.3 linear ft.)
Series 6: Scrapbooks, 1928-1991, undated (Boxes 7-8; 1.1 linear ft.)
Series 7: Sound Recordings, 1980-1990 (Box 8; 3 folders)
Series 8: Printed Material, 1902-1995, undated (Boxes 8-13, OV 22; 3.4 linear ft.)
Series 9: Photographs, circa 1870s-1990, undated (Boxes 11, 14-17, OV 23; 3.0 linear ft.)
Biographical Note:
Robert Bruce Inverarity (1909-1999) showed artistic leanings as a boy, and from an early age was fascinated by puppetry and Northwest Coast native culture. During much of his youth, Inverarity's family lived in Canada, but returned to their native Seattle when he was a teenager. After graduating from high school, he made a 500 mile journey on foot along the coasts of the Vancouver Islands, collecting Indian artifacts and studying the area's tribal legends.
He studied briefly with Mark Tobey in Seattle, where the two shared a studio; when Tobey departed for Chicago, Inverarity succeeded him as an art teacher at the Cornish School. He spent the next few years in California working as an artist, exhibiting, and occasionally teaching. From there, he moved to Vancouver where he was Director of the School of Creative Art. In 1932, Inverarity made a three month trip to the Queen Charlotte Islands, British Columbia, for the purpose of studying the Haida Indians.
Upon his return to the United States in 1933, Inverarity joined the University of Washington Drama School as a puppetry instructor; in 1938 he published a highly regarded Manual of Puppetry. During 1936-37, he took a leave of absence from the university to assume the position of State Director of the Federal Art Project, where he remained until 1939. He then became State Director of the Art and Crafts Project (1939-1941). The U.S. Navy appointed Inverarity Chief of Design for Camouflage (1941-1943) and he later served as an Official Navy War Artist (1943-1945).
During his early years as a teacher and administrator, Inverarity continued making art and participated in a wide variety of exhibitions. He published a portfolio, 12 Photographs by R. B. Inverarity (1940). In the following year, Movable Masks and Figures of the North Pacific Coast Indians, a portfolio of his watercolors reproduced as silkscreen prints, appeared. Although Inverarity stopped exhibiting in 1941, he continued to produce art; notable work of this period includes photographic portraits of a number of artist friends (Max Ernst, Dorothea Tanning, Marcel Duchamp, and Man Ray).
After World War II, Inverarity completed his formal education. He earned a Bachelor's degree in art and anthropology from the University of Washington (1946), and then studied with Hilaire Hiler at Freemont University in Los Angeles, where he was awarded a Master's degree in fine arts (1947) and a Ph.D. (1948).
Inverarity began his museum career in 1949 when he was appointed the first director of the Museum of International Folk Art in Santa Fe, New Mexico, a position that combined his interest in, and knowledge of, anthropology and art. While in Santa Fe, he published Art of the North West Coast Indians (1950). During his five year tenure as director, the museum participated in a pilot study for coding visual files, a project of the anthropological group, Human Resources Area Files, Inc. When Inverarity was dismissed from the Museum of International Folk Art in 1954, most of the staff resigned in protest, and the American Association of Museums investigated the situation.
Inverarity then became the first director of the Adirondack Museum, Blue Mountain Lake, New York, where he remained for eleven years. In addition to planning the museum's building, and developing collections and programs, Inverarity continued his involvement with the visual files project of the Human Resources Area Files, Inc., studying information storage and retrieval, developing a "microreader," and publishing Visual Files Coding Index (1960). In addition, he published many articles on a variety of topics and was active in organizations for anthropologists and museum professionals.
After his 1965 departure from the Adirondack Museum, Inverarity went to California and worked as an illustrator and book designer at the University of California Press. He returned to the east coast in 1969 to assume the directorship of the Philadelphia Maritime Museum. During this period, he remained active in professional associations and traveled to study museums abroad. He retired in 1976 and moved to La Jolla, California.
Robert Bruce Inverarity died in 1999.
Separated Material:
Originals of most of the drawings and sketches loaned by Mr. Inverarity were returned to him after filming and were not subsequently donated. This material is available on 35 mm microfilm reel D/NDA/I, frames 392-409.
Provenance:
Robert Bruce Inverarity donated his papers to the Archives in several installments between 1965 and 1993. Additional papers were received from his estate in 1999. He also loaned a small number of additional drawings and sketches for microfilming which were returned to him. A few of these drawings were included with the papers he subsequently donated to the Archives of American Art.
Restrictions:
The collection is open for research. Use requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Woodbury, Charles H. (Charles Herbert), 1864-1940 Search this
Extent:
6 Sound tape reels (Sound recording, 5 in.)
307 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Sound tape reels
Pages
Sound recordings
Interviews
Date:
1979 Aug. 30-1980 Nov. 7
Scope and Contents:
An interview of John Davis Hatch conducted 1979 Aug. 30- 1980 Nov. 7, by Robert F. Brown for the Archives of American Art.
Hatch recalls his childhood in California and training as a landscape architect, including an apprenticeship with Lockwood de Forest. He discusses his appointment as director of the Gallery of Fine Arts in Seattle at age 21 and his efforts there to develop an Asian focus for the museum and cultivate artists of the region, including Mark Tobey, Dudley Pratt, Kenneth Callahan, Emily Carr, Jose de Creeft, Frederick Varley, and Avard Fairbanks. He describes his interest in studying museums across the country and abroad and the roles played in the museum scene by the American Federation of Arts and the Museum Directors Association.
Hatch recalls his work as assistant director of the Isabella Stewart Gardner Museum and as director of government art projects in New England in the 1930s, when he worked with Edward Bruce, Oscar Bluemner, Charles Woodbury, John Wharf, and Laura Coombs Hills, among others. He describes an attempt to form the American Artists Depository, a precursor to the Archives of American Art, and his activities collecting American drawings, organizing travelling exhibitions, and promoting American art history as a discipline.
Hatch speaks of his tenure as director of the Albany Institute of History and Art and his efforts to advance an appreciation of local Dutch history and the work of Thomas Cole. He remembers encounters with Henry Francis Du Pont and Charles Franklin Montgomery. Hatch describes the start of his teaching career in Oregon and his involvement with local artists C.S. Price, Carl Morris, and Ludvik Durchanek. He talks about a stint as director of the Norfolk (Va.) Museum of Arts and Sciences and his work as a consultant to museums, especially as it pertained to the development of arts programs at black colleges in the South.
Hatch concludes with a discussion of museums near his home in Lenox, including the Sterling and Francine Clark Art Institute and the Berkshire Museum.
Biographical / Historical:
John Hatch (1907-1996) was an art historian, collector, art consultant, and museum director.
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.
Occupation:
Art historians -- Massachusetts -- Interviews Search this
Carl Morris : paintings 1939-1992 : [exhibition] Portland Art Museum, September 28 through November 14, 1993 / guest curator, Barry Johnson ; co-curator, John S. Weber
