Search Results

Creator:

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

Wilmerding, John, 1938-  Search this

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

Type:

Sound recordings

Topic:

Art, American  Search this

Record number:

(DSI-AAA_CollID)12665

(DSI-AAA_SIRISBib)214332

AAA_collcode_nation80

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_214332

Creator:

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

Wilmerding, John  Search this

Ferber, Linda S.  Search this

Novak, Barbara  Search this

Baur, John I. H. (John Ireland Howe), 1909-1987  Search this

Extent:

1 Item (sound cassette (1 hr., 2 min.))

Type:

Collection descriptions

Archival materials

Sound recordings

Date:

1980 Nov. 18

Scope and Contents:

A panel discussion held 1980 Nov. 18, at the National Academy of Design, New York, N.Y.

Panel members are John I. H. Baur, Linda Ferber, and John Wilmerding, with Barbara Novak as moderator. John Howard Dobkin and William McNaught introduce the speakers.

General:

Originally recorded on 1 sound cassette. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 2 min.

Provenance:

This interview is 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.

Restrictions:

Use requires an appointment.

Topic:

Art, American  Search this

Genre/Form:

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.nation80

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-nation80

Creator:

Goodrich, Lloyd, 1897-1987  Search this

Interviewer:

Phillips, Harlan B. (Harlan Buddington), 1920-  Search this

Names:

Art Students League (New York, N.Y.) -- Students  Search this

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

Public Works of Art Project  Search this

Whitney Museum of American Art  Search this

Eakins, Thomas, 1844-1916  Search this

Field, Hamilton Easter  Search this

Force, Juliana, 1876-1948  Search this

Marsh, Reginald, 1898-1954  Search this

Miller, Kenneth Hayes, 1876-1952  Search this

Stieglitz, Alfred, 1864-1946  Search this

Watson, Forbes, 1880-1960  Search this

Extent:

225 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Date:

1962 June 13-1963 March 25

Scope and Contents:

An interview of Lloyd Goodrich conducted 1962 June 13-1963 March 25, by Harlan Phillips, for the Archives of American Art. Goodrich speaks of his youth in Nutley, New Jersey; his family background; his father's influence; his friendship with Reginald Marsh; studying at the Art Students League under Kenneth Hayes Miller; attending the National Academy of Design; his interest in music and poetry; deciding upon a career in art; working as a writer, editor, and critic for "The Arts"; his travels for "The Arts"; critics he knew; his book on Thomas Eakins; his work with the Public Works of Art Project; political problems with government support of the arts in the 1930s through the 1950s; working as a curator at the Whitney Museum of American Art; the problem of forgeries; the Whitney's relationship with other museums; and politics at the Whitney. He recalls Juliana Force, Forbes Watson, Alfred Stieglitz and Hamilton Easter Field.

Biographical / Historical:

Lloyd Goodrich (1897-1987) was a museum director and art historian living in New York, New York.

Provenance:

These interviews are 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.

Restrictions:

This transcript is open for research. No audio exists. Contact Reference Services for more information.

Occupation:

Art historians -- New York (State) -- New York -- Interviews  Search this

Topic:

Art and state  Search this

Art -- Forgeries  Search this

Museum directors -- New York (State) -- New York -- Interviews  Search this

Function:

Art museums -- New York (State) -- New York

Genre/Form:

Interviews

Identifier:

AAA.goodri62

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-goodri62

Interviewee:

Cavallon, Giorgio, 1904-1989  Search this

Interviewer:

Cummings, Paul  Search this

Names:

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

United States. Works Progress Administration  Search this

Gorky, Arshile, 1904-1948  Search this

Hawthorne, Charles Webster, 1872-1930  Search this

Extent:

52 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Date:

1974 February 28

Scope and Contents:

Interview of Giorgio Cavallon, conducted 1974 February 28, by Paul Cummings, for the Archives of American Art, at the artist's residence in New York, New York.

Cavallon speaks of growing up in Italy and his move to America. He recalls attending the National Academy of Design in New York and working for the Works Progress Administration. He mentions various artists, including Charles Hawthorne and Arshile Gorky.

Biographical / Historical:

Giorgio Cavallon (1904-1989) was a painter from New York, New York.

General:

Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 2 hr.

Provenance:

These interviews are 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:

Art, American  Search this

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

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the transcription of this interview provided by the Smithsonian Institution's Women's Committee.

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.cavall74

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cavall74

Interviewee:

Burlin, Paul, 1886-1969  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Names:

American Artists' Congress  Search this

Downtown Gallery (New York, N.Y.)  Search this

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

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

Boas, Franz, 1858-1942  Search this

Gleizes, Albert, 1881-1953  Search this

Halpert, Edith Gregor, 1900-1970  Search this

Huneker, James, 1857-1921  Search this

Matisse, Henri, 1869-1954  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Extent:

5 Items (Sound recording: 5 sound files (2 hr., 39 min.), digital, wav)

65 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Interviews

Sound recordings

Place:

Europe -- description and travel

Southwestern States -- Description and Travel

Date:

1962

Scope and Contents:

Interview of Paul Burlin, conducted on December 5-6, 1962, by Dorothy Gees Seckler, for the Archives of American Art, Smithsonian Institution.

Burlin speaks of his childhood education in England; working for the magazine Delineator; his education at the National Academy of Design; his travels in the American Southwest; his early exhibitions in New York; his first wife's writings on folk music; visiting Europe before the first World War; discovering Cubism and Fauvism; working on the WPA under the Whitney Museum; joining and then leaving the American Artists' Congress in protest; his thoughts on overtly political art; exhibiting at the Downtown Gallery; his image-making process; and his critique of Pop art. Burlin also recalls James Huneker, Franz Boas, Albert Gleizes, Henri Matisse, Edith Halpert, Georgia O'Keeffe, and others.

Biographical / Historical:

Paul Burlin (1886-1969) was a painter in New York, New York.

General:

Originally recorded on 5 sound tape reels. Reformatted in 2010 as 5 digital wav files. Duration is 2 hr., 39 min.

Provenance:

This interview is 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

Art -- Political aspects  Search this

Cubism  Search this

Fauvism  Search this

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

Pop art  Search this

Genre/Form:

Interviews

Sound recordings

Sponsor:

Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service.

Identifier:

AAA.burlin62

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-burlin62

Creator:

Butler, Howard Russell, 1856-1934  Search this

Butler, Howard Russell, 1856-1934  Search this

Subject:

Cox, Kenyon  Search this

Brush, George de Forest  Search this

Coffin, William A. (William Anderson)  Search this

Carnegie, Andrew  Search this

American Fine Arts Society  Search this

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

Topic:

Landscape painting  Search this

Painting, American  Search this

Theme:

Diaries  Search this

Lives of American Artists  Search this

Audio - Visual  Search this

Record number:

(DSI-AAA_CollID)8987

(DSI-AAA_SIRISBib)211175

AAA_collcode_butlhowa

Theme:

Diaries

Lives of American Artists

Audio - Visual

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211175

Creator:

Cowdrey, Mary Bartlett, 1910-1974  Search this

Cowdrey, Mary Bartlett, 1910-1974  Search this

Subject:

Mount, William Sidney  Search this

Stuart, Gilbert  Search this

Mellquist, Jerome  Search this

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

Topic:

Art, American  Search this

Theme:

Art Theory and Historiography  Search this

Women  Search this

Record number:

(DSI-AAA_CollID)10122

(DSI-AAA_SIRISBib)213028

AAA_collcode_cowdmary

Theme:

Art Theory and Historiography

Women

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_213028

Creator:

Cowdrey, Mary Bartlett, 1910-1974  Search this

Names:

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

Mellquist, Jerome  Search this

Mount, William Sidney, 1807-1868  Search this

Stuart, Gilbert, 1755-1828  Search this

Extent:

6.9 Linear feet ((partially microfilmed on 13 reels))

Type:

Collection descriptions

Archival materials

Date:

1830-1960

Scope and Contents:

The Mary Bartlett Cowdrey papers measure 6.9 linear feet and date from 1830-1960. Included is material relating to her involvement with the National Academy of Design

Letters, invoices, and clippings relate to the National Academy Design's exhibitions and exhibition records, 1952-1954. Among the correspondents are Eliot Clark, Charles Downing Lay, Vernon Porter, R.W.G. Vail, and Lawrence Grant White; and Cowdrey's collection of ca. 200 photographs and other reproductions of Gilbert Stuart portraits and the publication Essays on American Art and Artists, Eastern Art League, 1896, signed by Cowdrey. Also included are notes, correspondence, photographs, publications, and clippings collected by Cowdrey for a biography of William Sidney Mount, ca. 1830-1957 microfilmed on reels D362-D363, and a letter from Jerome Mellquist, an art historian and specialist on French modern art, regarding his interests and his work , December 14, 1956. The letter has been microfilmed on reel D9.

Biographical / Historical:

Mary Bartlett Cowdrey (1830-1960) was an art historian in Passaic, New Jersey. Bartlett was author of "National Academy of Design Exhibition Record, 1826-1860," 2 v., 1944 a co-author: "William Sidney Mount, 1807-1868, An American Painter," 1944. Cowdrey was also a collector for Archives of American Art in the late 1950s.

Other Title:

Reel D9: Microfilm title: Jerome Mellquist

Related Materials:

Also in the Archives are papers lent for microfilming on reels N60-11, NY59-5, NY59-11, NY59-18-NY59-19, NY59-29 including files on 19th century American artists compiled by Cowdrey, containing notes, reproductions, clippings, biographical material, and publications; and material microfilmed on reels D75- D78 including alphabetical indexes of artists who exhibited at the National Academy of Design, 1861-1890, including their dates, exhibition dates, their works and prices, and their address at the time of the exhibit, plus notes and correspondence relating to this compilation. This work was intended to be a continuation of Cowdrey's book NATIONAL ACADEMY OF DESIGN EXHIBITION RECORD, 1826-1860 (The New York Historical Society, New York, 1943.)

Papers of Mary Bartlett Cowdrey, 1834-1963, are also located at the University of Delaware Library's Special Collections.

Provenance:

Material on reels D362-D363, D9 and unfilmed material donated 1956 and 1966 by Mary Bartlett Cowdrey. In 2001, Paul D. Schweitzer, Cowdrey's friend and Director and Chief Curator of the Munson Williams Proctor Arts Institute in Utica, N.Y, donated 0.2 ft. of Cowdrey's files relating to her work on the National Academy of Design. All other papers were lent for microfilming 1956-1966 by Cowdrey.

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:

Artists -- United States  Search this

Topic:

Art, American  Search this

Identifier:

AAA.cowdmary

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-cowdmary

Creator:

Butler, Howard Russell, 1856-1934  Search this

Names:

American Fine Arts Society  Search this

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

Brush, George de Forest, 1855-1941  Search this

Carnegie, Andrew, 1835-1919  Search this

Coffin, William A. (William Anderson), 1855-1925  Search this

Cox, Kenyon, 1856-1919  Search this

Extent:

3 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1874-1936

Scope and Contents:

The papers of Howard Russell Butler measure 3.0 linear feet on 7 microfilm reels and date from 1874 to 1936. The collection includes writings, journals, organizational papers, correspondence, biographical information, printed matter, art works, and diaries.

Correspondence includes about 1700 letters concerning Butler's artwork, his interest in astronomy, support for the League of Nations and the World Court, his investigation of the Lincoln statue controversy, his management of the Andrew Carnegie house and property, and extensive correspondence about the various activities of the National Academy of Design and the American Fine Arts Society.

Also included are letters from Howard Russell Butler to family and friends, written from Princeton University, Cuba, Mexico, California, Colorado, and Europe; five diaries, 1876-1877; one drawing; and two oil sketches after a painting by Titian. It also includes a book of Butler's works, Howard Russell Butler, including an appreciation by F. Newlin Price, and an unpublished autobiography written from a journal kept by Butler.

Arrangement:

The collection is arranged as 13 series.

Series 1: Biographical Material, circa 1922 (Reel 0347)

Series 2: Correspondence and Exhibition Files, 1886-1933 (Reel 0347)

Series 3: Association Records, 1895-1932 (Reel 0347-Reel 0348)

Series 4: Project Files, circa 1918-1934 (Reel 0348-Reel 0349)

Series 5: Abraham Lincoln statue controversy, circa 1917-1922 (Reel 0349)

Series 6: Professional Files, 1903-1905 (Reel 0349)

Series 7: Book Projects, 1922-1931 (Reel 0349)

Series 8: Essay, undated (Reel 0349)

Series 9: Professional files, 1915-1920 (Reel 0349)

Series 10: Writings, circa 1936 (Reel 0089, Reel 0093)

Series 11: Letters, 1874-1907 (Reel 1189-Reel 1190)

Series 12: Diaries, 1876-1877 (Reel 1190)

Series 13: Artwork, circa 1888 (Reel 1190)

Biographical / Historical:

Howard Russell Butler (1856-1934) was a businessman, lawyer, and landscape painter from New York, NY. Butler was actively involved in many art associations, including founding the American Fine Arts Society. He was a National Academician of the National Academy of Design, and a member of the Architectural League and the Society of American Artists.

Separated Materials:

The Archives of American Art also holds microfilm of material lent for microfilming, reels 89 and 93. Loaned materials were returned to the donor and are not described in the collection microfilm inventory.

Provenance:

Donated and lent 1970-1975 by H. Russell Butler, Jr., Butler's son.

Restrictions:

This collection is open for research. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.

Occupation:

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

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

Topic:

Landscape painting  Search this

Painting, American  Search this

Function:

Arts organizations

Identifier:

AAA.butlhowa

See more items in:

Howard Russell Butler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-butlhowa

Interviewee:

Burlin, Paul, 1886-1969  Search this

Burlin, Paul, 1886-1969  Search this

Interviewer:

Seckler, Dorothy Gees, 1910-1994  Search this

Subject:

Boas, Franz  Search this

Gleizes, Albert  Search this

Halpert, Edith Gregor  Search this

Huneker, James  Search this

Matisse, Henri  Search this

O'Keeffe, Georgia  Search this

Downtown Gallery (New York, N.Y.)  Search this

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

United States. Works Progress Administration  Search this

Whitney Museum of American Art  Search this

American Artists' Congress  Search this

Type:

Interviews

Sound recordings

Place:

Europe -- description and travel

Southwestern States -- Description and travel

Topic:

Art, American  Search this

Art -- Political aspects  Search this

Cubism  Search this

Fauvism  Search this

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

Pop art  Search this

Record number:

(DSI-AAA_CollID)11640

(DSI-AAA_SIRISBib)212588

AAA_collcode_burlin62

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212588

Creator:

Kelly, James Edward, 1855-1933  Search this

Kelly, James Edward, 1855-1933  Search this

Subject:

Dreiser, Theodore  Search this

Edison, Thomas A. (Thomas Alva)  Search this

Homer, Winslow  Search this

Lincoln, Abraham  Search this

Poe, Edgar Allan  Search this

Ryder, Albert Pinkham  Search this

Ryder, George Hope  Search this

Sarony, Napoleon  Search this

Wilde, Oscar  Search this

Worden, John Lorimer  Search this

Harper's Magazine  Search this

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

Scribner's magazine  Search this

Place:

New York (N.Y.) -- Pictorial works

Topic:

Sculpture, American  Search this

Theme:

Diaries  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)7707

(DSI-AAA_SIRISBib)209871

AAA_collcode_kelljame

Theme:

Diaries

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_209871

Creator:

Nichols, Hobart, 1869-1962  Search this

Nichols, Hobart, 1869-1962  Search this

Subject:

Huntington, Archer M.  Search this

Root, Elihu  Search this

Century Association (New York, N.Y.)  Search this

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

Topic:

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

Landscape painting -- 20th century -- New York (State)  Search this

Theme:

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)9086

(DSI-AAA_SIRISBib)211279

AAA_collcode_nichhoba

Theme:

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211279

Creator:

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

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

Subject:

Kurtz, Charles M. (Charles McMeen)  Search this

Watrous, Harry W. (Harry Willson)  Search this

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

Louisiana Purchase Exposition (Location of meeting: Saint Louis, Mo.). Date of meeting or treaty signing: (1904 :.)  Search this

Record number:

(DSI-AAA_CollID)6633

(DSI-AAA_SIRISBib)215945

AAA_collcode_natiacal

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_215945

Creator:

Kelly, James Edward, 1855-1933  Search this

Names:

Harper's Magazine  Search this

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

Scribner's magazine  Search this

Dreiser, Theodore, 1871-1945  Search this

Edison, Thomas A. (Thomas Alva), 1847-1931  Search this

Homer, Winslow, 1836-1910  Search this

Lincoln, Abraham, 1809-1865  Search this

Poe, Edgar Allan, 1809-1849  Search this

Ryder, Albert Pinkham, 1847-1917  Search this

Ryder, George Hope  Search this

Sarony, Napoleon, 1821-1896  Search this

Wilde, Oscar, 1854-1900  Search this

Worden, John Lorimer, 1818-1897  Search this

Extent:

1.4 Linear feet ((on 2 microfilm reels))

Type:

Collection descriptions

Archival materials

Place:

New York (N.Y.) -- Pictorial works

Date:

1880-1957

Scope and Contents:

Business correspondence; correspondence between Robert Bruce and George Hope Ryder (Kelly's patron) concerning Ryder's collection of sculpture by Kelly; a bound typescript of Kelly's memoirs with descriptions of New York City from the Civil War period to the 1930s and impressions of HARPER'S and SCRIBNER'S magazines, the National Academy of Design, Theodore Dreiser, Thomas A. Edison, Winslow Homer. Abraham Lincoln, Edgar Allen Poe, Albert Pinkham Ryder, Napoleon Sarony, Oscar Wilde, Admiral John L. Worden and others; and photos and reproductions of works of art. Also found are an inventory of George H. Ryder's art and furniture collection; and lists of pictures and bronzes of Ryder.

Biographical / Historical:

Sculptor, illustrator and painter; New York City. Kelly's primary work were Civil War monuments.

Provenance:

The donor, Mary C. Liberatore, is the niece of Leonard Clayton, who established a gallery in New York City in the 1920s. This collection was possibly organized by George Hope Ryder, Kelly's patron, acquired by the Gallery and then donated to the Archives.

Restrictions:

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

Occupation:

Engravers  Search this

Illustrators  Search this

Painters  Search this

Sculptors  Search this

Topic:

Sculpture, American  Search this

Identifier:

AAA.kelljame

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kelljame

Creator:

Kelly, Emerson Crosby, 1899-  Search this

Hollinger & Co. photography firm.  Search this

Photographer:

Moffett (Firm)  Search this

Sarony, Napoleon, 1821-1896  Search this

Vandyk, C.  Search this

Names:

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

Pestalozzi Foundation of America  Search this

Salmagundi Club  Search this

Carlsen, Emil, 1853-1932  Search this

Murphy, Adah Clifford, 1860-1949  Search this

Murphy, John Francis, 1853-1921  Search this

Murphy, John Francis, 1853-1921 -- Catalogues raisonnés  Search this

Extent:

16.7 Linear feet ((on 21 microfilm reels))

Type:

Collection descriptions

Archival materials

Drawings

Sketchbooks

Place:

Arkville (N.Y.) -- Pictorial works

Date:

1761-1973

Scope and Contents:

Biography and catalogue raisonné of J. Francis Murphy by Emerson Crosby Kelly, M.D., and correspondence relating to Dr. Kelly's interest in Murphy. Personal papers of J. Francis Murphy and Adah Clifford Smith Murphy include diaries and notebooks, correspondence, Smith and Murphy family documents, financial records, printed matter, artifacts, photographs, and works of art.

Research notes, drafts, and manuscript of an unpublished biography, "J. Francis Murphy, N.A., (1853-1921): Tints of a Vanished Past," and illustrated catalogue raisonne of the works of J. Francis Murphy by Emerson Crosby Kelly (1953). Kelly corresponded with friends and relatives of the Murphys, with owners of Murphy paintings, publishers, printers, and possible financial backers for his book. Also documented is Dr. and Mrs. Kelly's involvement in the sale of "Weedwild," the Murphy's Arkville, N.Y. home, to the Pestalozzi Foundation of America.

Diaries of J. Francis Murphy (25 vols.) contain very brief entries that faithfully record weather conditions, garden progress, and other nature notes, with occasional mention of social engagements or service on art juries; entries recorded during trips to Europe mainly list places visited with little elaboration. Notebooks (16 vols.) include painting registers, daily listings of mail sent and received, address books, and jottings relating to Indian relics, his farmland, and paintings sent to dealers. Mrs. Murphy's diaries (46 vols.) also contain very brief entries mentioning friends, social engagements, travels, and an "Account of the pictures I painted and gave away. Portraits of them. + landscapes + old houses." Her notebooks (4 vols.) contain "Notes for a book. J.F.'s".

Correspondence concerns family matters, exhibitions, sales, professional memberships, involvement with the Salmagundi Club and National Academy of Design, and the couple's finances. Whenever separated, the Murphys exchanged lengthy letters with one another; the majority of these are from husband to wife.

Receipts and invoices are mainly for art supplies, framing, and shipping costs; expense records for personal purchases and farm upkeep and improvements; taxes; and legal papers concerning a property boundary dispute and lawsuit against the Murphys.

Photographs are of Mr. and Mrs. Murphy, their families and ancestors, friends, studios, "Weedwild" (country home) and surrounding Arkville, N.Y. area, landscape subjects, works of art by the Murphys, medals and certificates of award. Six tintypes are included. Photographers include: Hollinger, Moffett, Napoleon Sarony, and C. Vandyk. Commercially produced stereographs mainly depict U.S. scenes.

Art works consist of sketchbooks, oil sketches, and works of art on paper by both Murphys, Emil Carlsen, and other artists (ca. 500 items).

Other materials include exhibition catalogs and announcements, clippings, scrapbooks (probably compiled by Mrs. Murphy ca. 1885), medals awarded to J. Francis Murphy, copper plate etched by Adah C. Murphy, and artifacts.

Arrangement:

I. Writings and Research Notes. II. Kelly Correspondence and Miscellaneous Files. III. J. Francis and Adah Clifford Smith Murphy Papers.

Biographical / Historical:

Emerson Crosby Kelly, M.D., art collector, surgeon, and medical bibliographer; d. 1977. J. Francis Murphy, landscape painter and one of the leading tonalists of the American Barbizon school, lived and worked in New York City and Arkville, N.Y. Studied very briefly at the Chicago Academy of Design, 1875. Member of the National Academy of Design and active in the Salmagundi Club. His wife, Adah Clifford Smith Murphy, a painter and illustrator, studied at the Female Art School of the Cooper Union for the Advancement of Science and Art.

Provenance:

The donor, Sydney Kelly, is the widow of Dr. Emerson Crosby Kelly. Dr. Kelly acquired the Murphy papers in 1949 from Hulda Gregerson, Mrs. Murphy's long-time companion, for the purpose of writing a biography and catalogue raisonne of J. Francis Murphy.

Occupation:

Painters -- Biography  Search this

Biographers  Search this

Illustrators -- New York (State)  Search this

Landscape painters -- New York (State)  Search this

Topic:

Artists' studios -- Photographs  Search this

Landscape painting, American -- New York (State)  Search this

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

Women painters -- New York (State)  Search this

Genre/Form:

Drawings

Sketchbooks

Identifier:

AAA.kellemer

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-kellemer

Creator:

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

Names:

American Federation of Arts  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Durand, Asher Brown, 1796-1886  Search this

Lanyon, Ellen  Search this

Ranger, Henry Ward, 1858-1916  Search this

Extent:

92.7 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Scrapbooks

Interviews

Date:

1817-2012

Summary:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

Scope and Contents:

The records of New York City's National Academy of Design measure 92.7 linear feet and date from 1817-2012. The records pertain to all three constituents of the tripartite organization consisting of the Academy, a membership body of artists founded in 1825; the school, founded at the same time to promote arts education; and the exhibition program, inaugurated in 1826. Extensive administrative records include minutes, committee files, director files, annual reports, constitutions, and correspondence and subject files of council officers. Exhibition records, also substantive, date to the Academy's first annual exhibition and include gallery and special exhibitions, as well as exhibitions at the Academy's museum, established in 1979. The collection also includes gifts and funding files, especially relating to endowments and prizes; membership records; National Academy Association records; Ranger Fund assignments; extensive files pertaining to the school's administration, courses of instruction, registrations, and attendance; twenty scrapbooks containing clippings and ephemera; Society of American Artists records; correspondence and ephemera from other organizations; transcripts from oral histories with Academy members; extensive photographic material documenting artists, members, the school, exhibitions, buildings, and artwork created by Academy members; artist files containing correspondence, writings, and sketches from those associated with the Academy; and assorted printed material and ephemera.

The Academy minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006. As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics in the Academy's history; in particular, its founding, administration, school, and exhibition program.

Director files date from 1942-1990 and document the activities of four of the Academy's chief administrators, including Vernon Porter (1950-1966), Earl Tyler (1966-1967), Alice Melrose (1967-1977), and John H. Dobkin (1978-1990). Items include correspondence, memoranda, minutes, and printed material.

Annual reports, dating from 1828-2003, summarize the activities of the Academy over the course of a year, and may include presidents' reports, treasurers' reports, audits of financial operations by public accountants, and printed annual reports containing summaries from multiple council officers. Information pertains to the year's activities including finances, exhibitions, membership, the school, committee activities, awards, and other business.

Academy constitutions date from 1826-2012 and include the printed constitutions and by-laws as well as constitutional proposals. Constitutions and by-laws name the current council officials, professors, academicians, associates, and honorary members, and state the mission and guidelines for operation in regards to membership, officers, annual meetings, elections, school, exhibitions, and how the constitution can be amended or altered. Constitutional proposals contain amendment drafts, alterations, and related correspondence.

Council officer files, dating from 1848-1980, contain the correspondence and subjects files of Academy officers—presidents, vice presidents, corresponding secretaries, and treasurers—concerning all matters of Academy business and operations including membership, gifts and funds, the federal charter, exhibitions, juries, the school, scholarships, committee affairs, anniversaries, publicity, administrative matters, resignations, and relationships with other organizations.

General administrative files date from 1825-1982 and include ledgers, certificates, correspondence, and legal documents pertaining to the Academy's founding, building, financial accounts, art collection, and other administrative matters.

Exhibition files, dating from 1826-2003, document the Academy's long exhibition history and includes annual, gallery, special, and museum exhibitions. Files may include exhibition catalogs, photographs, press clippings, sales records, and correspondence related to jury selection, awards and prizes, and logistical planning. Files pertaining to the Academy's annual exhibitions comprise a bulk of the series. Held since 1826, the Annuals were organized and curated by Academy members, and considered to be an important and sweeping survey of contemporary American art.

Gifts and funding files date from 1860-2009 and include financial documents, ledgers, legal material, and correspondence concerning the bequests, endowments, donations, and other gifts that financed the operations of the Academy and school. A significant number of records pertain to the Abbey Trust Fund and the Archer M. Hunting Fund.

Membership files, 1826-2012, document Academy members, honorary members, fellows, and the nominations and elections whereby members were voted into the Academy. Materials include registers, certificates, nomination ledgers and proposals, candidate biographies, and ballots.

The National Academy Association files date from 1911-1959 and contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the Association, incorporated in 1912 with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens.

The Ranger Fund assignment files, 1919-2008, document the distribution of artworks by living American artists to institutions throughout the United States, in accordance with the will of Henry Ward Ranger. The Ranger Fund was initiated to stimulate public interest in the work of contemporary American painters in 1919, when the Academy received a bequest from Henry Ward Ranger, totaling $400,000. Ranger stated in his will that the capital should be invested and the income used as a purchase fund to facilitate gifts of paintings by living American artists to arts institutions throughout the United States. Files document the assignment of particular works of art to institutions through the official agreement, related correspondence, and in some instances, photographs of the artwork.

Extensive school records, dating from 1826-2008, contain administrative files, enrollment records, course files, student affairs files, and printed material documenting all aspects of the school's activities aligned with the Academy's mission to educate aspiring professional artists. A bulk of this series consists of student course registrations, documented in registers, then on index cards beginning in the 1930s. While information collected varied over the decades, registrations document student names and the year, and may additionally include course name, instructor, and cost.

Twenty Academy scrapbooks document the organization's activities from 1828-1939 and include clippings and ephemera. Three of the scrapbooks are devoted to specific topics, including one for the Society of American Artists, one for both the Society of American Artists and the Society of American Fakirs, and one for the Academy's centennial exhibition.

The Society of American Artists files, 1878-1906, document the formation of the Society as a departure from the Academy in 1877, its independent operations and activities, and its eventual consolidation with the Academy in 1906. The Society's members have included Edwin Abbey, James Carroll Beckwith, Mary Cassatt, William Merritt Chase, Thomas Eakins, George Inness Jr., John La Farge, Albert Pinkham Ryder, among many others.

Files from other organizations date from 1817-1997 and may include correspondence, ledgers, and printed material. Many of these organizations had business with the Academy, and records pertain to events, meetings, and exhibitions. Notable organizations include the American Academy of Fine Arts, American Federation of Arts, American Watercolor Society, Art Students League, Fine Arts Federation of New York, Metropolitan Museum of Art, New York Etching Club, Pennsylvania Academy of Fine Arts, and Salmagundi Club.

Oral history transcripts date from 2002-2007. Eight comprehensive interviews, conducted by Avis Berman for the Academy, are with Academy members and cover all aspects of the artists' lives, including family, early life, beginning career, mentors, contemporaries, influences, patrons, awards, residencies, as well as the artists' relationship with the Academy. The interview transcripts provide first-hand accounts of the organization, particularly from circa 1940 up to the time of the interview. Artists interviewed include Will Barnet, Hyman Bloom, Richard Haas, Ellen Lanyon, Jules Olitski, Bernard Olshan, Paul Resika, and Dorothea Rockburne.

Photographic material, dating from 1845-2010, includes a wide variety of formats and processes including 19th and 20th photographic prints, glass plate negatives, copy prints, contact sheets, slides, and 35mm negatives. Subjects include artists and others associated with the Academy, the school, exhibitions and events, Academy buildings, artwork, and reference photographs. Many 19th century photographs contain descriptive annotations. Supplementary inventories and guides prepared by Academy archivists are scattered throughout the series.

Artist files date from 1826-2004 and include the correspondence, writings, manuscripts, diaries, exhibition catalogs, and clippings of many notable artists involved with the Academy, including Asher B. Durand and Rembrandt Peale. Of particular note are two notebooks Durand gifted to the Academy, both containing notes and sketches from anatomy lectures.

While printed material is scattered throughout, the final series collects a small number of additional announcements, brochures, clippings, illustrations, and other ephemera not filed in other series.

Arrangement:

The collection is arranged as nineteen series.

Series 1: Minutes and Committee Files, 1825-2006 (11.5 linear feet; Boxes 1-11, BV 100-106)

Series 2: Director Files, 1942-1990 (0.5 linear feet; Box 11)

Series 3: Annual Reports, 1828-2003, circa 2010 (2.1 linear feet; Boxes 11-13, OV 139-142)

Series 4: Constitutions, 1826-2012 (1.1 linear feet; Boxes 13-14)

Series 5: Council Officers, 1848-1980 (4 linear feet; Boxes 14-18)

Series 6: General Administration, 1825-1982 (0.6 linear feet; Boxes 18, 126)

Series 7: Exhibitions, 1826-2003, 2008 (14.4 linear feet; Boxes 18-33)

Series 8: Gifts and Funding, 1860-2009 (4.1 linear feet; Boxes 33-37)

Series 9: Membership, 1826-2012 (3.4 linear feet; Boxes 37-39, 127-131)

Series 10: National Academy Association, 1911-1959 (0.4 linear feet; Box 39)

Series 11: Ranger Fund Assignments, 1919-2008 (4.3 linear feet; Boxes 39-44)

Series 12: School, 1826-2008 (28.5 linear feet; Boxes 44-56, 68-99)

Series 13: Scrapbooks, 1828-1939 (4 linear feet; Box 56, BV 107-125)

Series 14: Society of American Artists, 1878-1906 (0.8 linear feet; Boxes 56-57)

Series 15: Other Organizations, 1817-1997 (1.8 linear feet; Boxes 57-59, 131)

Series 16: Oral History Transcripts, 2002-2007 (0.7 linear feet; Box 59)

Series 17: Photographic Material, 1845-2010 (6.1 linear feet; Boxes 60-63, 131-138, OV 143-144)

Series 18: Artist Files, 1826-2004 (3.5 linear feet; Boxes 63-66)

Series 19: Printed Material, 1839-1954 (0.4 linear feet; Boxes 67, 131, OV 145)

Biographical / Historical:

The National Academy of Design (1825- ) based in New York City, is a tripartite organization consisting of a membership body of artists, a school, and an exhibition program. The Academy was founded in 1825 by a group of professional artists with the mission to promote the fine arts in America through exhibition and education. Originally named the New York Drawing Association, the Academy was the first organization in the United States established and managed by professional artists. Samuel F.B. Morse, the Academy's first president, was influenced by the organization of the Royal Academy in London, which was comprised of professional artist members and elected government council, an art school, and a venue for exhibitions. After unsuccessful negotiations to unite with the American Academy of Fine Arts, the New York Drawing Association reformed as the National Academy of The Arts of Design on January 19, 1826. Among the founders were mostly young artists who became prominent figures in American art, including Frederick S. Agate, Thomas Cole, Thomas S. Cummings, Asher B. Durand, John Frazee, Charles C. Ingham, Henry Inman, Gerlando Marsiglia, Samuel F. B. Morse, Samuel L. Waldo, and Charles Cushing Wright.

The first Academy members were elected in January 1826, and levels of membership were established shortly thereafter. Originally there were four levels of Academy membership: associates, academicians, artists, and honorary corresponding members. The category of artists was eliminated in 1829, and the honorary member category, established to recognize American artists living outside New York, distinguished foreign artists, and patrons and friends of the Academy, was eliminated in 1862 (the constitution was not amended with this change until 1896). Since 1869, the residency requirement for election to active membership was eliminated and membership was opened to all American artists. In 1920, the classification of honorary corresponding member was re-introduced to recognize representatives of other national academies. With the 1997 constitution, the honorary corresponding member classification was again eliminated, and in 1994 the associate category was eliminated.

Artists are proposed for membership by academicians through the membership committee and are elected for life by a sixty percent majority, based on recognized excellence and significant contributions to the field. Procedures and rules for nominating and choosing new academicians changed over the years, as detailed in the constitutions. Associates were at one time required to present a portrait of themselves upon election and academicians were required to provide an additional representative work upon election. With the elimination of the category of associate in 1994, only one representative work is currently required. These works of art become part of the Academy's permanent collection.

The original classes of professional artists were painting, sculpture, architecture, and engraving. These professional classes were modified over the years. In 1936 the engraving class was made more comprehensive, including all of the graphic arts. Watercolor was added as a class in 1943 and was codified in the 1945 constitution. However, the division into five distinct classes started to create difficulties in how specific works of art were to be categorized. In 1981 the council eased the rules regarding separate media classification so that members could submit a work in any medium to the annual exhibitions regardless of the class to which they had been elected. The constitution of 1994 restated four professional classes—painting, sculpture, graphics, and architecture—which were further reduced in the 2011 constitution to two: visual arts and architecture.

Until 2009, the governing body of the Academy was the council. The seven officers of the council were president, vice-president, treasurer, assistant treasurer, corresponding secretary, assistant corresponding secretary and recording secretary, all of whom were required to be academicians. In 2009, a new constitution provided for a board of governors, replacing the council. The five officers of the board of governors are chair, vice-chair, president, vice-president, and treasurer. Only the offices of president and vice-president are required to be held by academicians.

Central to the Academy's mission, the school began with an anatomy lecture for the New York Drawing Association, delivered by Dr. Frederick G. King in November 1825. The first drawing session took place in November 1826 in the Old Alms House at City Hall Park with two academicians and twenty students. In the school's early years, professional artists met with students to draw from plaster casts of antique sculpture in the academic tradition. Both lectures and studio training were central the school's early curricula. Life classes, the practice of drawing from live models, were introduced in 1837, but only to advanced male students. A life class for women was not instituted until 1857, even though women were allowed membership to the Academy since its beginning. Due to financial difficulties at the Academy, the school was forced to move locations and shut down its operations for extended periods. Mounting dissatisfaction and frustration led several students and Lemuel E. Wilmarth, one of the school's leaders and first full-time professional instructor, to leave the Academy in 1875 and form a new school, the Art Students League. While charging tuition was unpopular, the Academy realized that it was necessary to ensure the school's sustainability, and implemented fee structures with varying success over the second half of the 19th century and first half of the 20th. Eventually, tuition was established by 1951, when the school was reopened at a new location, 5th Avenue and 89th Street.

Exhibitions have always been an important activity for the Academy, even prior to the opening of the National Academy Museum in 1979. Since 1826, the Academy has held annual exhibitions intended to reflect contemporary art currents in America. Any American artist was eligible to submit work to be reviewed by a jury of selection, comprised of academicians. Throughout the 19th century, the annual exhibitions at the Academy were one of the most significant and influential in the country. The selection process for these exhibitions was a critical topic, at times actively discussed in the press, and continually undergoing modification and change. In addition to the Annuals, the galleries of the Academy were often rented or loaned to outside organizations such as the American Watercolor Society, Audubon Artists, and the National Association of Women Artists. The galleries also mounted special exhibitions curated by its members and hosted a certain number of travelling exhibitions organized by other museums or art organizations. The museum, opened in 1979, hosted and presented major exhibitions, many focusing on historic European subjects.

Official Names of the Academy 1825-2017

1825 -- The New York Drawing Association

1826 -- The National Academy of The Arts of Design

1828 -- The National Academy of Design

1997 -- The National Academy Museum and School of Fine Art

2017 -- The National Academy of Design

National Academy of Design Meeting, Exhibition, and School Locations

1826 -- Old Alms House at City Hall Park in lower Manhattan

1827-1830 -- Chambers Street over the Arcade Baths

1831-1840 -- Corner of Nassau and Beckman Streets, the Mercantile Library on the third floor of Clinton Hall

1841 to 1849 -- 346 Broadway (at Leonard Street), the third and fourth floors of the New York Society Library

1850-1854 -- 663 Broadway, where the Academy erected a suite of six galleries

1855-1856 -- 548 Broadway (over Dr. Chapin's Church)

1857 -- 663 Broadway

1858-1861 -- 10th Street and 4th Avenue, the upper floor of a building

1861-1863 -- 625 Broadway, the Institute of Art

1865-1899 -- 23rd Street and Fourth Avenue (now Park Avenue South)

1899-1940 -- 109th Street and Amsterdam Avenue; exhibition galleries at 215 West 57th Street

1940-2017 -- 1083 Fifth Avenue at East 89th Street

Provenance:

The bulk of the collection was donated by the National Academy of Design in 2018. The trustees' ledger book in series 6 was donated in 1979 by Warder Cadbury of the Adirondack Museum; it is unclear how Cadbury acquired the ledger. Microfilm reels 798-799 containing transcriptions of minutes were given to the Archives by Lois Fink in 1974.

Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

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

Function:

Arts organizations -- New York (State)

Art Schools -- New York (State)

Genre/Form:

Drawings

Scrapbooks

Interviews

Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-natiacad

Collection Creator:

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

Extent:

11.5 Linear feet (Boxes 1-11, BV 100-106)

Type:

Archival materials

Date:

1825-2006

Scope and Contents:

The National Academy of Design minutes and committee files consist of official, original, and transcribed proceedings for the council, annual, business, and some committee meetings, as well as related correspondence, reports, financial documents, notes, drafts, and ballots pertaining to the Academy's administration and activities from its 1825 founding until 2006.

As an organization actively engaged in the development of art and art education in the United States, the Academy minutes and committee files are a valuable resource on subjects and topics including the Academy's history; the formation, development, contents, and loans of its art collection; art and design education; Academy exhibits and public programs; relationships with other art and educational organizations in the United States and Europe, including Columbia University, New York University, National Arts Club, and many others; interactions with officials of the City of New York; the Academy's role in shaping the architectural and sculptural environment of New York City and Washington, DC; contemporary art movements and schools; the development of American art, and the integral role that Academy members, faculty, and students played in that development; the role of women artists at the Academy; and the Academy's involvement in the standardization of materials for painters and sculptors, such as analysis of colors in oil and pigments.

Official council minutes (subseries 1.1) have been approved by the appropriate governing body and consist of seven bound volumes of handwritten minutes and, after May 1894, unbound typewritten pages housed in folders and boxes. The official minutes were copied from the handwritten notes in bound books, identified as the original council minutes (subseries 1.2). Official minutes contain the proceedings of the council, officers, trustees, and committees, as well as related records inlaid or pasted among the pages. These items include council officers' reports, resolutions, correspondence, occasional drafts and notes, constitutions and by-laws for some of the early years, obituaries of Academy members, and other assorted materials. Gaps in the official minutes may be filled in or appear to be more complete in the original minutes.

Original council minutes (subseries 1.2) are the most original of the minutes and consist of handwritten notes in bound books, supposedly from draft notes taken during meetings. Minutes are comprised of the proceedings of the council, officers, trustees, and committees, and related material including drafts, notes, leaflets, brochures, and correspondence. The distinction between official and original minutes essentially disappeared after 1916. Minutes after 1916 are arranged in subseries 1.4.

The council minutes excerpts (subseries 1.3) are handwritten summaries of the Academy minutes, thought to have been prepared from 1915-1919 by the Academy librarian George W. Maynard. Occasionally, reports, loose notes (some of which might be initial draft notes from meetings), and bookmarks with short annotations presumably created in the late 1970s are included. Box 4, folder 10 contains handwritten committee reports, agreements, and other documents referred to in the council minutes, requested to be transcribed, but ultimately not transcribed. The excerpts for 1863-1878 were typed at some point and are included in this subseries. All excerpts are indexed: indices for the years 1825-1863 are included in their respective folders; an index for the years 1863-1909 is in box 3, folder 13; an index for the years 1909-1916 is in box 4, folder 11; and an index for the years 1916-1919 is in box 4, folder 16. The last folder contains correspondence related to the transcription project.

Minutes and reports (subseries 1.4) include proceedings for the council, annual, business, election, and committee meetings, as well as annual, financial, librarian, and committee reports. Committees include or have included the Abbey Fund, building, exhibition, executive, finance, membership, nominating, school, Ranger Fund, women's, and various ad-hoc committees. Over the years the structure, powers and duties of committees were modified. Occasional correspondence, notes, exhibition catalogues, and handwritten texts (mostly original drafts of minutes) are included. This is especially true for the period 1897-1913, when handwritten drafts and notes of minutes were more or less consistently incorporated with typewritten minutes in chronological order.

Committee files (subseries 1.5) contain the same types of materials found in subseries 1.4, including committee minutes, reports, and related material.

Arrangement:

The series is arranged as five subseries. The original order of the minutes and committee files have undergone several alterations over the years. Subseries 1.4 and 1.5 both contain extensive committee records. Minutes and reports (1.4) are arranged chronologically while committee files (1.5) have been arranged alphabetically.

1.1: Official Council Minutes, 1825-1916

1.2: Original Council Minutes, 1825-1898

1.3: Council Minutes Excerpts, 1902-circa 1919

1.4: Minutes and Reports, 1826-2001

1.5: Committees, 1826-2006

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad, Series 1

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1

Collection Creator:

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

Extent:

0.4 Linear feet (Box 39)

Type:

Archival materials

Date:

1911-1959

Scope and Contents:

The National Academy Association files contain a constitution, plan, and agreement, as well as correspondence, meeting minutes, and reports for the National Academy Association, incorporated in 1912, with the aim to erect a building shared by several New York art societies. At the time of incorporation, the Association consisted of members from the National Academy of Design, American Water Color Society, American Institute of Architects, Architectural League of New York, New York Water Color Club, National Sculpture Society, Municipal Art Society, Society of Beaux-Arts Architects, Mural Painters, Society of Illustrators, and a number of city representatives and citizens. Their shared goals were to develop and encourage the study of fine arts, aid artists and associations of artists, disseminate knowledge of and stimulate interest in fine arts, provide space for classes, exhibitions, lectures, and accommodations. The final goal, the erection of an Arts Center, never came to fruition. In 1958, refunds were issued by the Association's board of trustees to each of the organizations who contributed money at the 1912 incorporation.

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.natiacad, Series 10

See more items in:

National Academy of Design records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref10

Collection Creator:

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

Container:

Box 7, Folder 1-3

Type:

Archival materials

Date:

1930-1933

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 1: Minutes and Committee Files / 1.4: Minutes and Reports

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref100

Collection Creator:

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

Container:

Box 30, Folder 22

Type:

Archival materials

Date:

1955-1956

Collection Restrictions:

This bulk of this collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Collection Rights:

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

Collection Citation:

National Academy of Design records, 1817-2012. Archives of American Art, Smithsonian Institution.

See more items in:

National Academy of Design records

National Academy of Design records / Series 7: Exhibitions / 7.3: Special Exhibitions

Archival Repository:

Archives of American Art

EDAN-URL:

ead_component:sova-aaa-natiacad-ref1000