Taylor, Joshua C. (Joshua Charles), 1917-1981 Search this
Names:
National Collection of Fine Arts (U.S.) Search this
National Museum of American Art (U.S.) Search this
Extent:
20.3 Items (linear ft. (partially microfilmed))
Type:
Collection descriptions
Archival materials
Date:
1931-1982
Scope and Contents:
The papers of museum director and art historian Joshua Charles Taylor, measure 20.3 linear feet and date from 1931-1982 and include biographical information, correspondence, writings, works of art, a scrpabook, photographs, teaching material and printed material. Biographical information consists of curriculum vitae, bibliographies, and a military honorable discharge certificate. Correspondence is with students and others. Writings include journals 1967, 1969, 1978-1981. Works of art consist of 12 sketchbooks and sketches by Taylor and others. A scrapbook contains programs, photographs, and clippings concerning puppet shows, musical reviews, symphony concerts, and plays, 1933, 1935-1941. Writings include notes, manuscripts, and typescripts for forewords, publications and lectures. photographs and slides are of Taylor, others and artwork. Taylor;s teaching material regards the University of Chicago and includes minutes of meetings, class lists and course outlines, and students' papers.
Biographical / Historical:
Museum director, art historian; Washington, D.C. Taylor was born in Oregon and received his B.A. from Reed College in 1939. He taught theater and served in World War II before completing his M.F.A. and Ph.D. in Art History at Princeton. For more than twenty years he was professor of art history and humanities at the University of Chicago. In 1970 he became the director of the National Museum of American Art (then the National Collection of Fine Arts) a position he held until his death in 1981.
Provenance:
Material on reels 2228-2232 and 14 feet of unmicrofilmed material donated 1981 by Mrs. Stanley Johnson and Mrs. William Wuorinen, sisters of Joshua C. Taylor. Additional 2 feet of additional material was transferred from the National Museum of American Art, 1982-1984.
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.
Restricted for 15 years, until Jan-01-2033. Records may contain personally identifiable information (PII) that is permanently restricted; Transferring office; 2/23/1988, memorandum Shaffer to McManus; Contact reference staff for details
Restricted for 15 years, until Jan-01-2032. Box 3 contains materials restricted indefinitely; see finding aid; Transferring office; 2/23/1988, memorandum Shaffer to McManus; Contact reference staff for details
Papers related to an exhibition of Archipenko's sculpture and graphic art organized by UCLA Art Galleries and exhibited at NCFA in 1968. Included are correspondence concerning the Archipenko estate and the exhibition; a monograph, ALEXANDER ARCHIPENKO; a copy of an article, "The Terra-Cottas of Alexander Archipenko;" a bibliography and list of his works; and seven photographs of groups of sculpture in the exhibition.
Biographical / Historical:
National Collection of Fine Arts is part of the Smithsonian Institution. It's name was changed by an act of Congress to National Museum of American Art in 1980.
Provenance:
William Walker of the NCFA Library transferred this material to the Archives.
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.
Guilbeau, Honore (Honore Cooke), 1907- Search this
Extent:
21 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1969-1972
Scope and Contents:
Records relating to a possible demonstration and exhibition of a Synchroma machine at the National Collection of Fine Arts. Correspondence is between Adelyn Breeskin and Jan Mulhert of the museum's 20th century department and inventors Stanley Elliott and Honore Guilbeau. Photographs, descriptive statements, and clippings are also included.
Biographical / Historical:
The National Collection of Fine Arts, a branch of the Smithsonian Institution, changed its name through an act of Congress to the National Museum of American Art in 1980. The Syncroma machine creates constantly changing visual images using sonic inputs supplied by the artist.
Provenance:
Adelyn Breeskin represented NCFA in this gift 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:
Kinetic artists -- New York (State) -- New York Search this
Photographs of sculpture by Bryant Baker, by his brother, Robert P. Baker, and by his father, John Baker; two photographs of Robert P. Baker; correspondence between Bryant Baker and the National Collection of Fine Arts concerning his donation of both his and his brother's works; and clippings and periodicals.
Biographical / Historical:
Sculptor.
Related Materials:
Bryant Baker papers also at Syracuse University.
Provenance:
Transferred 1979 from the National Collection of Fine Arts to the Archives of American Art.
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; index card files; books; pages from a notebook; artwork; notes and diagrams; and printed material.
Correspondence with Jean Leon Gerome Ferris, 1927-1928, Ferris's widow, 1930-1941, and others, 1926-1945, regarding Ferris's gift to the Smithsonian Institution of his prints, paintings, miscellaneous items, and works of art by his father Stephen James Ferris. Included are photos of Mrs. Ferris, Jean Leon Gerome Ferris's studio, 1939, and his brass vessel collection; 21 letters from artist Jean Leon Gerome to Stephen James Ferris (in French, 9 with translations), 1887-1903; a letter and a postcard from Gerome to J. L. G. Ferris, 1903; notes to the Ferrises from Gerome's widow, 1904; and an invitation to Gerome's memorial service, 1904.
Pages from a notebook, circa 1940, and a sketch by Tolman; a 1929 letter from Mantle Fielding, regarding miniatures by Gilbert Stuart; and correspondence between Roma Harlan and Tolman, while Tolman was Director of the National Collection of Fine Arts.
Card files on art collections, artists, dealers, collectors, sales transactions and lost paintings; photographs, mostly 1930s, of Tolman's family, dealers, collectors, galleries, places visited, Smithsonian buildings, scenes of Washington, D.C., works of art and miscellaneous subjects; the book " The Life and Works of Edward Greene Malbone, 1777-1807" by Tolman, 1958; letters, 1910-1948 and undated; notes and diagrams about color and painting; artwork, undated and 1921-1951, including etchings, prints, watercolor sketches, many produced as Christmas cards; printed material including newspaper clippings, 1910-1952 and two exhibition catalogs, 1920 and 1924. Also included are a catalog of works, undated, by Charles Gruppe, signed by Gruppe, and the book "Early American Portrait Painters in Miniature" by Theodore Bolton, 1921, signed by Tolman. A photograph of Tolman and Bolton seated, 1950, is attached to the cover page of the book.
Biographical / Historical:
Ruel P. Tolman (1878-1954) was a museum director and printmaker in Washington, D.C. Tolman was the Director of National Collection of Fine Arts, 1946-1948.
Provenance:
Card files and some photographs donated 1979 by Thomas M. Beggs, Tolman's successor as director of NCFA. Material on reels 2677 and 3480 transferred 1981 and 1986 from the Smithsonian American Art Museum. Additional unmicrofilmed material transferred 2006 and 2015 from SAAM/NPG library.
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.
Occupation:
Art museum directors -- Washington (D.C.) Search this
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Scope and Contents:
The papers of art historian E. P. Richardson measure 28.7 linear feet and date from 1814-1996, with the bulk of the materials dating from 1921-1996. Within the papers are scattered biographical materials; acquisition files for Richardson's personal art collection; professional and personal correspondence with colleagues, art historians and critics, artists, museums, galleries, and dealers; numerous writings, including manuscripts and research files for his published books, articles, and lectures; general research notebooks and files compiled by Richardson on a wide variety of art-related topics and artists; professional and committee files; as well as a smaller amount of Constance C. Richardson's papers.
Biographical materials include certificates, awards, and honorary degrees, membership information, personal and family photographs, a few sketches, and a transcript of an oral history Interview with E.P. Richardson conducted by the National Endowment for the Humanities in 1982.
There are acquisitions files for the Richardsons' personal art collection that invoices, photographs, correspondence with galleries and collectors, appraisals, price lists, and artwork examination forms.
Correspondence is with colleagues, art dealers, collectors, museums and museum curators, foreign scholars, organizations, galleries, artists, art historians and critics, publishers, editors, librarians, friends, and family. Topics regard purchasing art for various collections, consultations about art and collecting including authentications and attributions, publishing, general art history, lectures, and personal matters, among other topics. There is correspondence with the Archives of American Art, Castano Galleries, Lawrence Fleischman, James Thomas Flexner, Alfred V. Frankenstein, George Croce, Walter Heil, Earl Krentzin, Wilmarth Lewis, Russel Lynes, John Francis McDermott, Philadelphia Museum of Art, J. Hall Pleasants, Anna Rutledge, Charles Sellers, Smithsonian Institution, Regina Soria, Victor Spark, William Stevens, Robert Vose, William Woolfenden, and many others. Scattered correspondence with artists is with Isabel Bishop, Louis Bouche, William Bostick, Eve Garrison, Edward Hopper, Irene Jungwirth, Yasuo Kuniyoshi, Hughie Lee-Smith, Reginald Marsh, Gerald Mast, Georgia O'Keeffe, Charles Sheeler, Walt Speck, and John Wedda, among many others. The greatest extent of correspondence is with Andrew Wyeth, Harold Cohn, and Frederick Simper. There is also personal correspondence with family and friends, and between E.P. and Constance Richardson.
E.P. Richardson's prominence as an art historian, writer, and expert on collecting is well documented through his prolific writings. Materials include drafts, notes, typescripts, and outlines for articles, exhibition catalog essays, and lectures. Also found are research files and publishing documentation for Richardson's books, including Washington Allston: A Study of the Romantic Artist in America (1948), Painting in America (1956), Charles Willson Peale and his World (1983), and American Romantic Painting (1944). There are also miscellaneous notes and four diaries. Two of the diaries comment on the social and cultural life of Detroit; the authenticity of paintings; Richardson's reflections on contemporary American painting, thoughts about museums, dealers, artists, and art historians (especially Wilhelm R. Valentiner); and travel.
Notebooks compiled by Richardson on a wide variety art-related topics cover nearly six decades. There are also numerous research files organized Richardson about individual artists and art history. And, the art collector files contain reference materials about art collectors and their collections including Lamont du Pont Copeland, Michael W. Freeman, Nelson Rockefeller, Mr. and Mrs. Joseph Allen, and the Marquis de Somerlous. There are three index card file boxes containing bibliographic data on published books and articles.
Professional and committee files document Richardson's professional and consulting work for the Art Quarterly, Detroit Institute of Arts, National Collection of Fine Arts, the National Portrait Gallery, the Pennsylvania Academy of Fine Arts, the John D. Rockefeller III collection, Winterthur Museum, the White House, and the Historical Society of Pennsylvania.
Constance C. Richardson's papers include business and professional correspondence with various institutions, most extensively with the Macbeth Gallery. In addition, there is a smaller amount of personal correspondence, photographs and slides of her artworks, printed materials, two illustrated notebooks on her work, and miscellaneous notes. Also included is Constance's artist palette.
Biographical / Historical:
Art historian, museum director, and writer E. P. (Edgar Preston) Richardson (1902-1985) served as director of the Detroit Institute of Arts (1945-1962) and Winterthur Museum (1963-1966). He was also a board member of the Pennsylvania Academy of the Fine Arts from 1966-1977 and, in 1954, co-founded the Archives of American Art, Smithsonian Institution.
E. P. Richardson was born in 1902 in Glens Falls, New York and died in Philadelphia in 1985. He graduated from Williams College in Massachusetts in 1925 and studied painting at the Pennsylvania Academy of the Fine Arts for the three years following graduation. In 1930 he became educational secretary at the Detroit Institute of Arts, was quickly named assistant director in 1933, and served as director from 1945 to 1962. He left Detroit to take the position of director of the Winterthur Museum, where he remained until 1966.
Richardson married Constance Coleman in 1931. Born in Berlin, Germany in 1905, Constance Coleman Richardson was an award-winning and widely exhibited realist style painter of American landscapes. She gave up painting in the 1960s and died in 2002.
While at the Detroit Institute of Arts, E. P. Richardson co-founded the Archives of American Art with Lawrence Fleischman, and served as the Archives' first director. Richardson was also art advisor to John D. Rockefeller III for over ten years, editor of Art Quarterly from 1938 to 1967, and a member of various boards, including the Historical Society of Pennsylvania, the Smithsonian Arts Commission, and the National Portrait Gallery. He authored numerous books including ones on artists Washington Allston and Charles Willson Peale, and The Way of Western Art: American Romantic Painting (1939), Painting in America: The Story of Four Hundred and Fifty Years (1956), A Short History of Painting in America (1963), and American Art, an Exhibition of the Collection of Mr. and Mrs. John D. Rockefeller, 3d (1976).
Related Materials:
Related collections among the holdings of the Archives of American Art include an interview with E.P. Richardson dated February 6, 1978 conducted by Linda Downs; and several miscellaneous manuscripts that include an E.P. Richardson Letter to Rockwell Kent, June 15 1959; E.P. Richardson letters to Lawrence Arthur Fleischman, May 13, 1962 and August 22 1954; and a Yasuo Kunioshi letter to E.P. Richardson, July 25 1948.
Additional E.P. Richardson papers are found at the Detroit Institute of Arts and in the archives of the Henry Francis du Pont Winterthur Museum.
Separated Materials:
The Archives of American Art also holds material lent for microfilming (reel D46) including E.P. Richardson's research material on Jeremiah P. Hardy. These materials are housed at the Smithsonian American Art Museum Library and are not described in the collection container inventory.
Provenance:
Edith Wilkinson first donated a letter to E. P. Richardson from herself in 1957. E.P. Richardson donated papers to the Archives of American Art in 1958 and 1960 and lent materials for microfilming in 1961. Addition material was donated by Constance Richardson in 1985, and by Martha Fleischman in 2003.
Restrictions:
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Scope and Contents:
The papers of Baltimore, Maryland, and Washington D.C. art historian and museum curator Adelyn Dohme Breeskin, measure 2.5 linear feet and date from circa 1934-1986. The papers provide scattered documentation of Breeskin's career, focusing on writings and lectures delivered in the United States and abroad, and briefly documenting her work as an art exhibition juror, as a consultant, and as a teacher of a community art course. The collection also includes papers documenting some of Breeskin's research on Loren MacIver, Mary Cassatt, and others, and is comprised of biographical material, personal and professional correspondence with artists, friends, and colleagues, manuscript and lecture notes and drafts, professional files, sound recordings, and a few photographs.
Arrangement:
The collection is arranged as four series:
Series 1: Biographical Material, 1938-1986 (0.6 linear feet; Box 1, OVs 4-6)
Series 2: Correspondence, 1940-1970 (0.5 linear feet; Box 1)
Series 3: Writings and Lectures, circa 1934-1981 (1 linear foot; Boxes 1-2)
Series 4: Professional Files, 1945-1984 (0.4 linear feet; Boxes 2-3)
Biographical / Historical:
Adelyn Dohme Breeskin (1896-1986) was an art historian and museum curator in Baltimore, Maryland, and Washington, D.C. She was the first woman to be named director of a major American museum, the Baltimore Museum of Art.
Adelyn Dohme took her first museum job in the print department of the Metropolitan Museum of Art, where she worked with Kathryn B. Child under the supervision of William Mills Ivins. She left the museum in 1920 to marry violinist Elias Breeskin, and the couple had three children before divorcing in 1930.
Following her divorce, Breeskin returned to her native Baltimore and took a position as a curator with the Baltimore Museum of Art. In 1942 she was appointed director of the museum and remained in that position until 1962. As director she gave Milton Avery and Mary Cassatt's graphics their first museum shows.
Breeskin served as commissioner for the American contingent of the Venice Biennale in 1960 and was director of the Washington Gallery of Modern Art from 1962-1964. She then became a special consultant in twentieth-century art for the Smithsonian's National Collection of Fine Art and served as the museum's curator of contemporary painting and sculpture from 1968 to 1974.
Breeskin authored two catalogue raisonnés of Mary Cassatt's work, and conducted extensive research for a monograph on Loren MacIver, although the monograph was ultimately not published. In 1985 Breeskin received the Smithsonian Institutions highest award, the Gold Medal for Exceptional Service, and at the time of her death in 1986, was senior curatorial adviser.
Related Materials:
The Archives of American Art also holds oral history interviews with Adelyn Breeskin conducted by Paul Cummings in 1974, and Julie Haifley in 1979.
Provenance:
Portions of the collection were donated to the Archives of American Art in a series of gifts from Adelyn Breeskin, 1979-1985. Material relating to Loren MacIver was donated 1979-1987 by Breeskin and Robert Frash, who had possession of Breeskin's research materials on MacIver for an exhibition on MacIver he curated in California. Letters from Georgia O'Keeffe, Stanton Macdonald-Wright, and Lawrence Calcagno, an exhibition catalog for Calcagno, and the file on Milton Avery, were donated by the National Museum of American Art on January 28, 1981. The birthday book was a gift from Breeskin's daughter, Gloria Breeskin Peck, in 2015. The sound recordings were transferred from the National Museum of American Art, circa 1984.
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.
Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art museum curators -- Maryland -- Baltimore Search this
Art historians -- Maryland -- Baltimore Search this
Art museum directors -- Maryland -- Baltimore Search this
