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Gros, Gericault, Delacroix; loan exhibition of paintings and drawings, November 21 to December 10, 1938, for the benefit of the Sauvegarde de l'art franc̜ais

Author:
M. Knoedler & Co  Search this
Pach, Walter 1883-1958  Search this
Subject:
Gros, Antoine-Jean baron 1771-1835  Search this
Géricault, Théodore 1791-1824  Search this
Delacroix, Eugène 1798-1863  Search this
Physical description:
36 p., 1 l. plates, ports. 31 cm
Type:
Exhibitions
Place:
France
Date:
1938
[1938]
Topic:
Painting, French  Search this
Drawing  Search this
Romanticism in art  Search this
Call number:
N40.1.G8682 M2 1938
N40.1.G8682M2 1938
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_407685

Carl Zigrosser papers

Topic:
Modern school magazine
Creator:
Zigrosser, Carl, 1891-  Search this
Names:
American Artists Group  Search this
Armory Show (1913: New York, N.Y.)  Search this
Art Institute of Chicago  Search this
Art in America  Search this
Independent Citizens Committee for the Arts, Sciences, and Professions  Search this
John Simon Guggenheim Memorial Foundation  Search this
Philadelphia Museum of Art  Search this
Print Club (Philadelphia, Pa.)  Search this
Print Council of America  Search this
Solomon R. Guggenheim Museum  Search this
Tamarind Lithography Workshop  Search this
Weyhe Gallery  Search this
Whitney Museum of American Art  Search this
Arms, John Taylor, 1887-1953  Search this
Barr, Alfred H., Jr., 1902-1981  Search this
Boyd, E., 1903-1974  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Calder, Alexander, 1898-1976  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Castellón, Federico, 1914-1971  Search this
Colker, Ed, 1927-  Search this
Cook, Howard Norton, 1901-1980  Search this
Dehn, Adolf, 1895-1968  Search this
Durieux, Caroline, 1896-1989  Search this
Dwight, Mabel, 1876-1955  Search this
Flannagan, John Bernard, 1895?-1942  Search this
Girard, André  Search this
Hayter, Stanley William, 1901-1988  Search this
Hopper, Edward, 1882-1967  Search this
Huntley, Victoria Hutson, 1900-1971  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Kent, Rockwell, 1882-1971  Search this
Keppel, Frederick, 1845-1912  Search this
Kimball, Fiske, 1888-1955  Search this
Kohn, Misch, 1916-  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Lankes, Julius J., 1884-1960  Search this
Lasansky, Mauricio, 1914-  Search this
Mauzey, Merritt, 1898-  Search this
McNulty, Kneeland  Search this
Michener, James A. (James Albert), 1907-  Search this
Mitchell, Marian  Search this
Nalbandian, Karnig  Search this
Norman, Dorothy, 1905-1997  Search this
O'Keeffe, Georgia , 1887-1986  Search this
Pach, Walter, 1883-1958  Search this
Rivera, Diego, 1886-1957  Search this
Ronnebeck, Arnold, 1885-1947  Search this
Rose, Ruth Starr, 1887-1965  Search this
Rosenwald, Lessing J. (Lessing Julius), 1891-1979  Search this
Ruellan, Andrée, 1905-2006  Search this
Schniewind, Carl Oscar, 1900-1957  Search this
Seidenberg, Roderick, 1889-1973  Search this
Spratling, William, 1900-1967  Search this
Spruance, Benton, 1904-1967  Search this
Sternberg, Harry, 1904-2001  Search this
Stieglitz, Alfred, 1864-1946  Search this
Teng, Kuei  Search this
Valentin, Curt, 1902-1954  Search this
Warneke, Heinz (Heinrich), 1895-1983  Search this
Weston, Edward, 1886-1958  Search this
Wickey, Harry  Search this
Wright, Frank Lloyd, 1867-1959  Search this
Yunkers, Adja, 1900-1983  Search this
Extent:
30 Linear feet ((on 63 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1891-1971
Scope and Contents:
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce requires written permission from the Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania. 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.
Occupation:
Artists -- United States  Search this
Printmakers -- United States  Search this
Museum curators -- Pennsylvania -- Philadelphia  Search this
Topic:
Art, American  Search this
Prints -- societies, etc  Search this
Prints -- Collectors and collecting  Search this
Prints, American  Search this
Prints, European  Search this
Identifier:
AAA.zigrcarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c88ba1db-1061-48d2-bae9-77dd7e7f65c5
EDAN-URL:
ead_collection:sova-aaa-zigrcarl

Stendahl Art Galleries records

Creator:
Stendahl Art Galleries  Search this
Names:
Couvoisier Galleries  Search this
Demotte, inc. (New York, N.Y.)  Search this
Thomas Gilcrease Institute of American History and Art  Search this
Wildenstein and Company (New York, N.Y.)  Search this
Archipenko, Alexander, 1887-1964  Search this
Beltran-Masses, Federico, b. 1885  Search this
Calder, Alexander, 1898-1976  Search this
Cantú, Federico, 1908-1989  Search this
Charlot, Jean, 1898-1979  Search this
De Creeft, José, 1884-1982  Search this
Eddy, Jerome  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Gelhaar, Emil  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gilbert, Arthur Hill, 1894-1970  Search this
Guthrie, George B.  Search this
Hansen, Armin C. (Armin-Carl), 1886-1957  Search this
Kandinsky, Wassily, 1866-1944  Search this
Kent, Rockwell, 1882-1971  Search this
Kleitsch, Joseph, 1885-1931  Search this
Knight, Aston, 1873-1948  Search this
Kronberg, Louis, 1872-1965  Search this
Laurence, Sydney, 1868-1940  Search this
Loeffler, Gisella, 1900-  Search this
Montenegro, Roberto, 1887-1968  Search this
Mérida, Carlos, 1891-1984  Search this
Noguchi, Isamu, 1904-1988  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958  Search this
Payne, Edgar A. (Edgar Alwin), 1882-1947  Search this
Pearson, Ralph M., 1883-1958  Search this
Picasso, Pablo, 1881-1973  Search this
Ritschel, William, 1864-1949  Search this
Rivera, Diego, 1886-1957  Search this
Rose, Ethel Boardman, 1871-1946  Search this
Rose, Guy, 1867-1925  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Siqueiros, David Alfaro  Search this
Stendahl, Earl L.  Search this
Szecsi, Ladislas  Search this
Wendt, William, 1865-1946  Search this
Zuloaga, Ignacio, 1870-1945  Search this
Extent:
7.5 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Scrapbooks
Date:
1907-1971
Summary:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.
Scope and Contents:
The records of the Los Angeles Stendahl Art Galleries measure 7.5 linear feet and date from 1907 to 1971. The collection is comprised of administrative and financial files, correspondence, exhibition files, and subject files on numerous artists, organizations, and other art-related topics. There is one scrapbook of clippings on the artist Edgar Payne.

Administrative and financial files concern advertising, publicity, consignments, inventory, purchases, sales, leases, and biographical information on Earl Stendahl.

The bulk of the correspondence is pre-World War II and is fairly extensive. It is with artists, organizations, collectors, art historians,and galleries. Signicant correspondents include Alexander Archipenko, Federico Beltran-Masses, Alexander Calder, Federico Cantú, Jean Charlot, Couvoisier Galleries, José de Creeft, Demotte Inc., Jerome Eddy, Lillian Genthe, Arthur Hill Gilbert, George B. Guthrie, Rockwell Kent, Louis Kronberg, Gisella Loeffler, Carlos Mérida, Isamu Noguchi, Walter Pach, Diego Rivera, Waler Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, Wildenstein & Company, and many others.

Files are found for about ten exhibitions, including Etching and Engravings by the Old Masters (1921), Airview Paintings (1930), American Landscape Art (1930), Arts of New Guinea (1964), and for exhibitions of Emil Gelhaar, Wassily Kandinsky, Sydney Laurence, and Roberto Montenegro.

Subject files are found for numerous artists, art topics, galleries, and foundations. Most of the files consist of printed materials, but there is correspondence and additional primary source material found in files for Nicolai Ivanovich Feshin, the Thomas Gilcrease Foundation, Armin Hansen, Joseph Kleitsch, Aston Knight, José Clemente Orozco, Edgar Payne, Ralph M. Pearson, Pablo Picasso, William Ritschel, Diego Rivera, Ethel B. Rose, Guy Rose, Walter Elmer Schofield, David Alfaro Siquieros, Ladislas Szecsi, William Wendt, and Ignacio Zuloaga.
Arrangement:
The collection is arranged as 4 series.

Missing Title

Series 1: Administrative and Financial Files, 1923-1957 (0.4 linear feet; Box 1)

Series 2: Correspondence, 1923-1968 (2.0 linear feet; Box 1-3)

Series 3: Exhibition Files, circa 1921-1967 (0.4 linear feet; Box 3)

Series 4: Subject Files, 1907-1971 (4.6 linear feet; Box 3-8, OV 9)
Biographical / Historical:
Earl Stendahl established Stendahl Art Galleries in 1911 in Los Angeles, California.

Earl Stendahl (1887-1966) came to Southern California from a small town in Wisconsin. He began showing young Los Angeles artists at his downtown restaurant, The Black Cat Café. He opened his gallery in The Ambassador Hotel on Wilshire Boulevard and organized shows focusing primarily on California Impressionists of the early twentieth century, including Edgar Payne, Guy Rose, William Wendt, Nicolai Fechin, and Joseph Kleitsch.

Stendahl Art Galleries also began to sell European and Latin American modern art. In 1939, Stendahl hosted one of only two non-museum exhibitions of Pablo Picasso's masterwork, Guernica, to benefit Spanish War orphans.

As early as 1935 Stendahl began promoting ancient artifacts from Mexico and Central America. Stendahl's first client for pre-Columbian art and artifacts was noted collector Walter Arensberg. Stendahl and the Arensburgs became friends and Stendahl helped the Arensburgs build one of the most significant collections in the U.S.

The galleries are currently owned by Ronald W. Dammann, Stendahl's grandson.
Provenance:
The Stendahl Art Galleries records were donated by Alfred Stendahl in 1976. An album of clippings was donated by Stendahl in 1995 via Nancy Moure.
Restrictions:
Use of original papers requires an appointment and is limited to the 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.
Topic:
Art -- New Guinea  Search this
Latino and Latin American artists  Search this
Landscape painting  Search this
Prints  Search this
Art, American  Search this
Art, Modern -- 20th century -- California -- Los Angeles  Search this
Function:
Art galleries, Commercial -- California
Genre/Form:
Gallery records
Scrapbooks
Citation:
Stendahl Art Galleries Records, 1907-1971. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.stenartg
See more items in:
Stendahl Art Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c32bcaf5-5f80-49c8-b1c3-5b09a2ad6c9b
EDAN-URL:
ead_collection:sova-aaa-stenartg
Online Media:

Rockwell Kent papers

Creator:
Kent, Rockwell, 1882-1971  Search this
Names:
American Artists' Congress  Search this
Artists League of America  Search this
Artists' Union (New York, N.Y.)  Search this
Citizens' Committee for Government Arts Projects  Search this
Farmers Union of the New York Milk Shed  Search this
Federal Art Project  Search this
Federal Writers' Project  Search this
International Workers Order  Search this
Macbeth Gallery  Search this
National Farmers' Union (U.S.)  Search this
National Maritime Union of America  Search this
United American Artists  Search this
United Office and Professional Workers of America  Search this
United Scenic Artists  Search this
Boyesen, Bayard  Search this
Chamberlain, J. E.  Search this
Chase, William Merritt, 1849-1916  Search this
Cleland, T. M. (Thomas Maitland), 1880-1964  Search this
Daniel, Charles, 1878-1971  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
DuBois, W.E.B. (William Edward Burghardt), 1868-1963  Search this
Fitzgerald, James, 1899-1971  Search this
Freuchen, Peter, 1886-1957  Search this
Gellert, Hugo, 1892-1985  Search this
Gottlieb, Harry, 1895-  Search this
Hartley, Marsden, 1877-1943  Search this
Hays, Lee, 1914-1981  Search this
Henri, Robert, 1865-1929  Search this
Jones, Dan Burne  Search this
Keller, Charles, 1914-2006  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Nearing, Helen  Search this
Nearing, Scott, 1883-1983  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Rasmussen, Knud, 1879-1933  Search this
Reeves, Ruth, 1892-1966  Search this
Robeson, Paul, 1898-1976  Search this
Roosevelt, Franklin D. (Franklin Delano), 1882-1945  Search this
Ruggles, Carl, 1876-1971  Search this
Seeger, Pete, 1919-2014  Search this
Stefansson, Vilhjalmur, 1879-1962  Search this
Untermeyer, Louis, 1885-1977  Search this
Wildenstein, Felix, 1883-1952  Search this
Zigrosser, Carl, 1891-  Search this
Extent:
88 Linear feet
Type:
Collection descriptions
Archival materials
Poems
Sketches
Business records
Photographs
Drawings
Date:
circa 1840-1993
bulk 1935-1961
Summary:
The Rockwell Kent papers measure 88.0 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.
Scope and Content Note:
The Rockwell Kent papers measure 88 linear feet and date from circa 1840 to 1993 with the bulk of the collection dating from 1935 to 1961. The collection provides comprehensive coverage of Kent's career as a painter, illustrator, designer, writer, lecturer, traveler, political activist, and dairy farmer.

Circumstances surrounding the acquisition of the papers are highlighted in an article by Garnett McCoy ("The Rockwell Kent Papers," in the Archives of American Art Journal, 12, no. 1 [January 1972]: 1-9), recommended reading for researchers interested in the collection. The collection is remarkably complete, for in the mid 1920s Kent began keeping carbon copies of all outgoing letters, eventually employing a secretary (who became his third wife and continued her office duties for the remainder of Kent's life).

Series 1: Alphabetical Files contain Kent's personal and professional correspondence, along with business records of the dairy farm and associated enterprises; also included are printed matter on a wide variety of topics and promotional literature relating to organizations and causes of interest to him. Voluminous correspondence with his three wives, five children, and other relatives, as well as with literally hundreds of friends, both lifelong and of brief duration, illuminates Kent's private life and contributes to understanding of his complex character. Among the many correspondents of note are: his art teachers William Merritt Chase, Robert Henri, and Kenneth Hayes Miller; fellow artists Tom Cleland, Arthur B. Davies, James Fitzgerald, Hugo Gellert, Harry Gottleib, Marsden Hartley, Charles Keller, and Ruth Reeves; collectors Duncan Phillips and Dan Burne Jones; critics J. E. Chamberlain and Walter Pach; and dealers Charles Daniel, Felix Wildenstein, and Macbeth Galleries. Kent corresponded with such diverse people as Arctic explorers Peter Freuchen, Knud Rasmussen, and Vilhjalmar Steffanson; composer Carl Ruggles and songwriters Lee Hays and Pete Seeger; civil rights pioneers Paul Robeson and Dr. W. E. B. Du Bois; writers Bayard Boyesen, Scott and Helen Nearing, and Louis Untermeyer; and art historian and print curator Carl Zigrosser.

Kent's interest and involvement in the labor movement are reflected in correspondence with officials and members of a wide variety and large number of unions and related organizations, among them: the Farmers' Educational and Cooperative Union of America, Farmers' Union of the New York Milk Shed, International Workers Order, National Maritime Union, and United Office and Professional Workers of America. Of special interest is his participation, often in leadership roles, in various attempts to organize artists. Files on the American Artists' Congress, Artists League of America, The Artists Union, United American Artists, and United Scenic Artists contain particularly valuable material on the movement.

A supporter of New Deal efforts to aid artists, Kent was actively interested in the various programs and often was critical of their limitations; he advocated continuing federal aid to artists after the Depression abated. The Kent papers include correspondence with the Federal Arts Project, Federal Fine Arts Project, Federal Writers Project, and the War Department, as well as correspondence with the Citizens' Committee for Government Art Projects and President Franklin D. Roosevelt on the subject.

Kent's professional correspondence documents exhibitions, sales, consignments, and reproduction of prints and paintings. He kept meticulous records of his advertising commissions and illustration work. Detailed correspondence with publishers and printers indicates Kent's involvement in the technical aspects of production and provides a good overview of the publishing industry during the mid-twentieth century.

Business records of Asgaard Farm include records of the dairy and transfer of ownership to its employees, tax and employee information, and documents concerning several related business ventures such as distributor ships for grain, feed, and farm implements.

Series 2: Writings consists of notes, drafts, and completed manuscripts by Rockwell Kent, mainly articles, statements, speeches, poems, introductions, and reviews. The Kent Collection given to Friendship House, Moscow, in 1960, was augmented later by a set of his publications and the illustrated manuscripts of many of his monographs. Also included are a small number of manuscripts by other authors.

Series 3: Artwork consists mainly of drawings and sketches by Kent; also included are works on paper by other artists, many of whom are unidentified, and by children.

Series 4: Printed Matter consists of clippings, exhibition catalogs and announcements, brochures, broadsides, programs, and newsletters. These include items by and about Kent and his family, as well as articles written and/or illustrated by him, and reviews of his books. There is also material on a variety of subjects and causes of interest to him. Additional printed matter is included among the alphabetical files, mainly as attachments to correspondence.

Series 5: Miscellaneous includes biographical material, legal documents, and memorabilia. Artifacts received with papers include textile samples, a silk scarf, dinnerware, ice bucket, and rubber stamp, all featuring designs by Rockwell Kent. Also with this series are a variety of documents including a phrenological analysis of an ancestor, lists of supplies for expeditions, a hand-drawn map of an unidentified place, and technical notes regarding art materials and techniques.

Series 6: Photographs includes photographs of Kent, his family and friends, travel, and art number that over one thousand. Also included here are several albums of family and travel photographs.
Arrangement:
The collection is arranged into six series. Series 1 is arranged alphabetically. The arrangement of the remaining series is explained in each series description. Note that sealed materials that became available in 2000 were microfilmed separately on reels 5740-5741, but have integrated into this finding aid.

Missing Title

Series 1: Alphabetical Files, circa 1900-1971, undated (Reels 5153-5249, 5256, 5740-5741)

Series 2: Writings, 1906-1978, undated (Reels 5249-5252, 5741)

Series 3: Art Work, 1910-1972, undated (Reels 5252, 5741)

Series 4: Printed Matter, 1905-1993, undated (Reels 5252-5254)

Series 5: Miscellaneous, 1859-1969, undated (Reels 5254, 5741)

Series 6: Photographs, circa 1840-1970, undated (Reels 5254-5255, 5741)
Biographical Note:
Rockwell Kent (1882-1971), an energetic and multitalented man, pursued many interests and careers during his very long and active life. At various times he was an architect, draftsman, carpenter, unskilled laborer, painter, illustrator, printmaker, commercial artist, designer, traveler/explorer, writer, professional lecturer, dairy farmer, and political activist.

While studying architecture at Columbia University, Kent enrolled in William Merritt Chase's summer school at Shinnecock Hills, Long Island. He then redirected his career ambitions toward painting and continued to study with Chase in New York. Kent spent a summer working and living with Abbott H. Thayer in Dublin, New Hampshire, and attended the New York School of Art, where Robert Henri and Kenneth Hayes Miller were his teachers.

Critically and financially, Kent was a successful artist. He was very well known for his illustration work--particularly limited editions of the classics, bookplates, and Christmas cards. He was a prolific printmaker, and his prints and paintings were acquired by many major museums and private collectors. During the post-World War II era, Kent's political sympathies resulted in the loss of commissions, and his adherence to artistic conservatism and outspoken opposition to modern art led to disfavor within art circles. After many years of declining reputation in this country and unsuccessful attempts to find a home for the Kent Collection, Kent gave his unsold paintings--the majority of his oeuvre--to the Soviet Union, where he continued to be immensely popular.

An avid traveler, Kent was especially fascinated by remote, Arctic lands and often stayed for extended periods of time to paint, write, and become acquainted with the local inhabitants. Between 1918 and 1935, he wrote and illustrated several popular books about his experiences in Alaska, Tierra del Fuego, and Greenland. In the 1930s and 1940s, Kent was much in demand as a lecturer, making several nationwide tours under the management of a professional lecture bureau; he spoke mainly about his travels, but among his standard lectures were some on "art for the people."

In 1927, Kent purchased Asgaard Farm at AuSable Forks, New York, in the Adirondacks, where he lived for the remainder of his life, operating a modern dairy farm on a modest scale for many years.

As a young man, Kent met Rufus Weeks, became committed to social justice, and joined the Socialist Party. Throughout his life, he supported left-wing causes and was a member or officer of many organizations promoting world peace and harmonious relations with the Soviet Union, civil rights, civil liberties, antifascism, and organized labor. Kent was frequently featured as a celebrity sponsor or speaker at fund-raising events for these causes. In 1948, he ran unsuccessfully as the American Labor Party's candidate for Congress. Kent's unpopular political views eventually led to the dissolution of his dairy business, resulted in a summons to appear before the House Un-American Activities Committee, and prompted the U.S. State Department to deny him a passport, an action that subsequently was overturned by the U.S. Supreme Court.

Kent wrote two autobiographies, This Is My Own (1940) and It's Me, O Lord (1955). In 1969, he was the subject of an oral history interview conducted by Paul Cummings for the Archives of American Art.

Missing Title

1882 -- born, Tarrytown, New York

1887 -- death of Rockwell Kent, Sr.

1894-1896 -- attended Cheshire Academy

1895 -- toured Europe with Aunt Jo

1896 -- attended Horace Mann School, New York City

1900-1902 -- studied architecture at Columbia University

1900-1902 -- attended William Merritt Chase's summer school, Shinnecock Hills, Long Island

1903 -- studied with William Merritt Chase, New York City

1904 -- first sale of a painting

1904 -- met Rufus Weeks and attended first Socialist meeting

1905 -- lived and worked with Abbott H. Thayer, Dublin, New Hampshire

1905 -- first painting trip to Monhegan Island, Maine

1907 -- first one-man show, Claussen Galleries, New York City

1908 -- marriage to Kathleen Whiting

1908 -- studied with Robert Henri

1908 -- joined Socialist Party

1909 -- birth of Rockwell, III

1910 -- ran Monhegan Summer School of Art

1910 -- first trip to Newfoundland

1910 -- helped to organize first Independent Exhibition

1911 -- birth of Kathleen

1912 -- moved to Winona, Minnesota

1913 -- birth of Clara

1914 -- settled in Newfoundland

1915 -- deported from Newfoundland

1915 -- birth of Barbara

1917 -- served as full-time organizer and administrator of Independent Exhibition

1918-1919 -- in Alaska with son Rocky

1919 -- purchased Egypt Farm, Arlington, Vermont

1919 -- incorporated self

1920 -- publication of Wilderness

1920 -- birth of Gordon

1922 -- traveled to Tierra del Fuego

1924 -- publication of Voyaging

1925 -- trip to France

1925 -- divorced from Kathleen

1926 -- marriage to Frances Lee

1926 -- traveled to Ireland

1927 -- purchased Asgaard Farm, AuSable, New York

1927 -- editor of Creative Art

1927 -- helped organize National Gallery of Contemporary Art, Washington, D.C.

1929 -- sailed to Greenland on Direction

1930 -- publication of N by E

1932-1933 -- returned to Greenland

1934-1935 -- final trip to Greenland

1935 -- publication of Salamina

1936 -- trip to Puerto Rico

1937 -- trip to Brazil

1937-1938 -- Post Office Department mural commission and controversy over Eskimo-language message interpreted as encouraging Puerto Rican independence

1939 -- divorced from Frances

1939 -- General Electric Co. mural commission for New York World's Fair

1940 -- publication of This Is My Own

1940 -- marriage to Shirley Johnstone (Sally)

1942 -- solo exhibition, Know and Defend America, at Wildenstein Galleries, New York City

1946 -- elected to Executive Committee of American Labor Party

1948 -- congressional candidate, American Labor Party

1948 -- transferred ownership of dairy to remaining employees after boycott resulting from support of Wallace for president

1949 -- attended World Congress for Peace, Paris

1950-1958 -- denied U.S. passport; lawsuit, appeals, and Supreme Court decision reinstating right to travel

1953 -- testified before House Un-American Activities Committee

1955 -- publication of It's Me, O Lord

1958 -- one-man show at Hermitage Museum, Leningrad

1959 -- publication of Of Men and Mountains

1960 -- gift of Kent Collection to Friendship House, Moscow

1960 -- exhibition at Pushkin Museum, Moscow

1963 -- publication of Greenland Journal

1966 -- elected to Academy of Arts of the USSR

1967 -- awarded Lenin Peace Prize, Moscow

1969 -- oral history interview, Archives of American Art

1969 -- home at Asgaard destroyed by fire; papers survived with some water and smoke damage

1969 -- first installment of Rockwell Kent Papers donated to Archives of American Art

1971 -- died, Plattsburgh, New York

1971 -- gift of additional Rockwell Kent Papers to Archives of American Art

1979 -- gift of textile samples to the Archives of American Art

1996 -- gift of additional Rockwell Kent Papers to Archives of American Art

2000 -- death of Sally [Shirley Johnstone] Kent Gorton

2000 -- previously sealed correspondence of wives Frances and Sally (Series 1) opened to researchers

2001 -- gift of additional Rockwell Kent papers to the Archives of American Art from the Estate of Sally Kent [Shirley Johnstone] Gorton
Provenance:
In 1969, Rockwell Kent donated his papers to the Archives of American Art; textile samples were received in 1979, and his widow gave additional papers in 1971 and 1996. Letters to Rockwell Kent from wives Frances and Sally, sealed during Sally Kent Gorton's lifetime, became available for research after her death in 2000, and further material was donated to the Archives of American Art in 2001 by the Estate of Sally Kent [Shirley Johnstone] Gorton.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State)  Search this
Topic:
Designers -- New York (State)  Search this
Mural painting and decoration  Search this
Politics and culture  Search this
Authors -- New York  Search this
Art, Modern -- 20th century -- United States -- Political aspects  Search this
Dairy farms  Search this
Federal aid to the arts  Search this
Illustrators -- New York (State)  Search this
Illustration of books  Search this
Works of art  Search this
Art and war  Search this
Commercial art  Search this
World War, 1939-1945 -- Art and the war  Search this
Function:
Labor unions
Genre/Form:
Poems
Sketches
Business records
Photographs
Drawings
Citation:
Rockwell Kent papers, circa 1840-1993, bulk 1935-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kentrock
See more items in:
Rockwell Kent papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw97edd9940-eb61-4562-9583-def2da778b6a
EDAN-URL:
ead_collection:sova-aaa-kentrock
Online Media:

George Constant papers

Creator:
Constant, George  Search this
Names:
Art Institute of Chicago  Search this
Audubon Artists (New York, N.Y.)  Search this
Brooklyn Museum  Search this
Carnegie Institute  Search this
Dayton Art Institute  Search this
Federation of Modern Painters and Sculptors  Search this
Ferargil Galleries  Search this
Heckscher Museum  Search this
Lyman Allyn Art Museum  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Museum of Modern Art (New York, N.Y.)  Search this
Parrish Art Museum  Search this
Spanish Refugee Aid (Organization)  Search this
United States. Works Progress Administration  Search this
Whitney Museum of American Art  Search this
Avery, Milton, 1885-1965  Search this
Avery, Sally  Search this
Burliuk, David, 1882-1967  Search this
Caparn, Rhys, 1909-1997  Search this
Carnell, Julia Shaw Patterson, 1863-1944  Search this
Davidson, Morris, 1898-1979  Search this
Eaton, Charles Warren, 1857-1937  Search this
Gecan, Vilko, 1894-1973  Search this
Kanaga, Consuelo, 1894-  Search this
Landgren, Marchal E.  Search this
Neuberger, Roy R.  Search this
Pach, Walter, 1883-1958  Search this
Perret, Nell, 1916-  Search this
Preston, Georgette  Search this
Putnam, Wallace, 1899-1989  Search this
Extent:
4.6 Linear feet
Type:
Collection descriptions
Archival materials
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Date:
1912-2007
bulk 1932-1978
Summary:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work.
Scope and Contents note:
The papers of modernist painter and printmaker George Constant measure 4.6 linear feet and date from 1912-2007, with the bulk of the material dating from 1932-1978. They consist of biographical material, inventories of artwork, audio interviews and recorded statements on art, personal and business related correspondence, holiday cards, printed material, an exhibition related video recording, and photographs of Constant, his family and friends, and his work. A small portion of the correspondence and printed materials are written in Greek.

Biographical material includes artist statements written and recorded by Constant, two audio interview recordings discussing his philosophies on art and his work, inventories of artwork, personal property deeds and legal correspondence, and other miscellaneous material.

Correspondence is predominantly in the form of business and personal letters, postcards, and holiday cards received from family and friends. These include correspondence from Constant's daughter, Georgette Preston, and extended family members. Other frequent personal correspondents include Milton and Sally Avery, Lewis Balamuth, Margaret Brunning, David Burliuk, Nathaniel Burwash, Rhys Caparn, Julia Shaw Patterson Carnell, Phillip Cavanaugh, Morris Davidson, Charles Eaton, Vilko Gecan, Marchal Landgren, Roy Neuberger, Walter Pach, Nell Perret, Constantine Pougialis, Wallace Putnam and Consuelo Kanaga, Hi Simons, and Helen Slosberg. Business related correspondents include Audubon Artists, Art Institute of Chicago, Brooklyn Museum, Carnegie Institute, Dayton Art Institute, Federation of Modern Painters and Sculptors, Ferargil Galleries, Guild Hall, Heckscher Museum, Lyman Allyn Museum, Metropolitan Museum, Museum of Modern Art, Spanish Refugee Appeal, and the Whitney Museum. Other business correspondence related to Constant's work with the WPA are also included in the series.

Printed material includes books and booklets on American and Greek art, including a limited print edition of George Constant by George Constant, clippings and articles reviewing Constant's work, exhibition announcements and catalogs of Constant's shows, periodicals profiling his artwork, and dance and theater related programs that Constant consulted on.

Photographs include black and white prints of Constant and his family and friends in St. Louis, Missouri, Dayton, Ohio, and in and around his studio in Shinnecock Hills, New York. The collection also includes photo stills from his 1965 exhibition at the Parrish Art Museum and a comprehensive set of black and white prints, a handful of color prints, and several color slide sheets of Constant's artwork from the 1920s to 1978.
Arrangement note:
The collection is arranged into 4 series:

Missing Title

Series 1: Biographical Material, 1923-2007 (Box 1; 17 folders)

Series 2: Correspondence, 1930-1979 (Box 1-2; 1.4 linear feet)

Series 3: Printed Material, 1927-2005 (Box 2-3; 2 linear feet)

Series 4: Photographic Material, 1912-1978 (Box 4-6; 1 linear foot)
Biographical/Historical note:
Greek American George Zachary Constant (1892-1978) worked from his studios in Shinnecock Hills, and New York City, New York as a painter and printmaker. A founder and lifelong member of the Federation of Modern Painters and Sculptors, Constant worked for the Work Projects Administration (WPA) during the Depression and early years of World War II, and exhibited regularly at major galleries and museums from the 1920s to 1970s.

Born in Arahova, Greece, Constant was raised by his two uncles after the death of his parents in 1896. In school and at the monestary one of his uncles led, Constant showed an early interest in classical Greek aesthetics. At the age of eighteen, he immigrated to the United States and continued his art studies at Washington University before transferring to the Art Institute of Chicago. From 1918 to 1922, Constant taught at the Dayton Art Institute and continued to produce and exhibit his work locally. In 1922, he moved to New York, joined the Society of Independent Painters, and became close friends with Society founder and art critic Walter Pach. During the 1920s, his etchings were shown at the Valentine and Downtown Galleries, and at the New Art Circle of J.B. Neumann, where he presented his first one man gallery show in 1929.

From the 1930s to 1940s, Constant produced prints, watercolors, and oil paintings for the WPA, many of which were purchased by museums and public institutions, including the Metropolitan Museum of Art and the Philadelphia Museum. During this same period, Constant exhibited his work at the Boyer Gallery in the late 1930s, and at the Ferargil Gallery from the 1940s to early 1950s. In the decade between 1955 and 1965, Constant also worked on color and set design for seventeen dance productions created by the choreographer Alwin Nikolais. In the last two decades of his career, Constant produced works from his studio in Shinnecock Hills, New York and continued to exhibit at numerous galleries, including Grace Borgenicht Gallery, Guild Hall, Mari Galleries, Tirca Karlis Gallery, and Artium Gallery.
Provenance:
The papers of George Constant were donated by the artist in 1969 and 1978. Additional materials were donated in 2001 and 2007 by his daughter Georgette Preston.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Painters -- New York (State) -- New York  Search this
Art -- Philosophy  Search this
Printmakers -- New York (State) -- New York  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Christmas cards
Photographs
Video recordings
Sound recordings
Interviews
Citation:
George Constant papers, 1912-2007, bulk 1932-1978. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.consgeor
See more items in:
George Constant papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cec7527c-1946-423b-aab7-e7728da8a072
EDAN-URL:
ead_collection:sova-aaa-consgeor

Lewis W. Rubenstein papers

Creator:
Rubenstein, Lewis W. (Lewis William), 1908-2003  Search this
Names:
Busch-Reisinger Museum  Search this
Fogg Art Museum  Search this
Curry, John Steuart, 1897-1946 -- Caricatures and cartoons  Search this
Lebrun, Rico, 1900-1964  Search this
Orozco, José Clemente, 1883-1949  Search this
Pach, Walter, 1883-1958 -- Caricatures and cartoons  Search this
Interviewer:
Catlin, Stanton L. (Stanton Loomis)  Search this
Extent:
5.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
1923-1993
Scope and Contents:
Journals, correspondence, writings, sketchbooks, interview, photographs and printed material document Rubenstein's painting career. A series of files relate to Rubenstein's longtime friendship with his teacher, Rico Lebrun.
The bulk of the collection consists of 60 v. of journals, 1930-June 1993, in which Rubenstein writes and sketches about his ideas for "time paintings," scrolls, films, his travels as a Fulbright scholar with his wife, Erica, his summers spent in Provincetown, Mass., "gallery pounding" in New York City trying to sell his work, inspirational biblical quotes, and various artist friends and colleagues, including Rico Lebrun, Walter Pach, Hans Hofmann, Ben Shahn, Karl Knaths, Olin Dows, Philip Guston, and Lloyd Goodrich.
Correspondence (0.2 ft.) relates to Rubenstein's nomination to the National Academy of Design, 1963, his murals in the Busch-Reisinger Museum and the Fogg Museum at Harvard University, the publication of an article by his wife Erica, regarding their stints as Fulbright scholars in Tokyo, illustrated by Lewis, and correspondence of a general nature from friends, colleagues, and admirers. Among the correspondents are Lynd Ward (Rubenstein's sponsor for the N.A.D. nomination), Derek Bok, president of Harvard, Olin Dows, and Edward Rowan, whose 1940 letter concerns Rubenstein's designs for murals for the Wareham, Mass. Post Office for the Section of Fine Arts.
Files on Rico Lebrun (ca. 0.8 ft.), contain several original and extensive photocopies of letters from Lebrun to Rubenstein, and a few letters from Constance Lebrun after her husband's death; a photograph of Lebrun with Constance and photographs of Lebrun's work, 39 drawings, 1933-1949, including studies for "The Cruxifixion" and "Portia"; a caricature of Diego Rivera working on a mural, and of John Steuart Curry by Lebrun, exhibition catalogs, clippings, and other printed material, and writings on Lebrun.
Art work by Rubenstein includes 9 v. of sketchbooks, 1930-1975, containing ink, pencil and charcoal drawings, and a caricature of Walter Pach.
The interview is a partial transcript (7 p.) of Rubenstein conducted by art historian Stanton L. Catlin, 1993, regarding Jose Clemente Orozco and a mural by him commissioned by the Museum of Modern Art, 1940, on which Rubenstein assisted. Also related to Orozco is a notebook containing technical details about the mural.
Photographs are mainly of Rubenstein's murals and paintings, but include several of him, and an album of snapshots of the Rubensteins and Lebruns in Europe, 1930-1932.
Printed material (1.2 linear ft.), documents exhibitions, awards, and works of art, and consists of exhibition announcements and catalogs, clippings, newsletters, Foreign Service journals, news releases, cartoons by Rubenstein, and postcards of Rubenstein's work. Two scrapbooks of newspaper clippings, 1935-1955, cover exhibitions.
Biographical / Historical:
Painter, printmaker, educator. Professor of painting at Vassar College. Rubenstein trained in frescoe painting with Rico Lebrun in Italy, and retained a lifelong friendship with him. His mural commissions include the Busch-Reisinger Museum and the Fogg Museum at Harvard, the Jewish Center in his hometown of Buffalo, N.Y., and the Wareham, Mass. Post Office for the WPA's Section of Fine Arts in 1940. Rubenstein attended Harvard University. He began his long teaching career at Vassar College in 1939. He began doing "Time Paintings" in late 1940s, executed on long canvases and viewed on special scrolled frames, merging Western and Far Eastern scroll painting styles.
Provenance:
Rubenstein donated the Lebrun drawings 1982-1987, and the remainder in 1993.
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:
Muralists  Search this
Topic:
Mural painting and decoration, American  Search this
Mural painting and decoration -- 20th century -- United States  Search this
Genre/Form:
Sketchbooks
Identifier:
AAA.rubelewi
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d01916bf-3be1-45b9-892a-9fe6e9926f7c
EDAN-URL:
ead_collection:sova-aaa-rubelewi

Alice Klauber letters

Creator:
Klauber, Alice Ellen, 1871-1951  Search this
Names:
Fine Arts Gallery of San Diego  Search this
Panama-California Exposition (1915 : San Diego, Calif.)  Search this
Adams, Wayman, 1883-1959  Search this
Bellows, George, 1882-1925  Search this
Glackens, William J., 1870-1938  Search this
Hartman, C. Bertram, 1882-1960  Search this
Hassam, Childe, 1859-1935  Search this
Henri, Robert, 1865-1929  Search this
Hewett, Edgar L. (Edgar Lee), 1865-1946  Search this
Lawson, Ernest, 1873-1939  Search this
Luks, George Benjamin, 1867-1933  Search this
Matisse, Pierre, 1900-1989  Search this
Organ, Marjorie, b. 1886  Search this
Pach, Walter, 1883-1958  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Sharp, Joseph Henry, 1859-1953  Search this
Sloan, John, 1871-1951  Search this
Zorach, William, 1887-1966  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1907-1946
Scope and Contents:
Letters to Alice Klauber from Walter Pach and Robert Henri about art activities; letters to Klauber and Edgar L. Hewett regarding the Panama-California Exposition of 1915-1916 in San Diego; and a few letters from William Zorach, Pierre Matisse and Wayman Adams regarding exhibits at the Fine Arts Gallery of San Diego. All letters are copies.
The 19 letters from Pach, 1907-1929, regard arrangements for Klauber to attend the Chase School in Italy (Pach was a manager/instructor), and his travels and work in Italy, Belgium, and Paris. Henri, writing 1912-1918, in 34 letters, discusses Maratta's color system, trips to Ireland, California, and Santa Fe, his health and work. The series concerning the Panama- California Exposition of 1915-1916 comprise mainly letters and telegrams to the art department chair Edgar L. Hewett from artists George Bellows, Arthur B. Davies, William Glackens, Bertram Hartman, Childe Hassam, Henri, Marjorie Organ (Mrs. Robert Henri), George Luks, Ernest Lawson, Maurice Prendergast, Joseph Henry Sharp, and John Sloan regarding their work, and a few to Klauber on her work for the exposition.
Biographical / Historical:
Painter, curator, San Diego, Calif. Klauber was a member of the Women's Board of the Panama-Pacific Exposition, 1915-1916, in San Diego, working on art exhibitions, actively assisted by Robert Henri and Edgar L. Hewett. Later, she was a curator at the Fine Arts Gallery of San Diego (renamed San Diego Museum of Art in 1978).
Provenance:
The donor, Henry G. Gardiner, was affiliated with the San Diego Fine Arts Gallery. He received the Pach letters from Mrs. Paul Wormser of La Jolla, California. Included with his donation were photocopies of letters to Alfred Mitchell from Mrs. Thomas Eakins which were microfilmed and described separately. Originals are owned by the San Diego Museum of Art.
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:
Museum curators -- California -- San Diego  Search this
Painters -- California -- San Diego  Search this
Topic:
Women artists  Search this
Women museum curators  Search this
Women painters  Search this
Identifier:
AAA.klaualic
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9b91901c1-a8e9-434a-ac72-6519bab51cf0
EDAN-URL:
ead_collection:sova-aaa-klaualic

Ralph and Bena Frank Mayer papers

Creator:
Mayer, Ralph, 1895-1979  Search this
Names:
Biddle, George, 1885-1973  Search this
Bishop, Isabel, 1902-1988  Search this
Brook, Alexander, 1898-1980  Search this
Burchfield, Charles Ephraim, 1893-1967  Search this
Florsheim, Richard A., 1916-1979  Search this
Hammer, Victor Karl, 1882-  Search this
Hirsch, Stefan, 1899-1964  Search this
Hurd, Peter, 1904-1984  Search this
MacKendrick, Lilian  Search this
Mayer, Bena Frank, 1898-1991  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Pach, Walter, 1883-1958  Search this
Rattner, Abraham  Search this
Sloan, John, 1871-1951  Search this
Smith, David, 1906-1965  Search this
Extent:
4.5 Linear feet ((partially microfilmed on 3 reels))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1920]-1964
Scope and Contents:
Correspondence, writings, photographs, art work, subject files, scrapbooks, and printed material.
REELS D211-D213: Ralph Mayer's correspondence is with artists, conservators, museum directors, publishers, art organizations, and others. Notebooks contain data on 19th century canvas makers and dealers of artists' materials. Also included are correspondence and a ledger regarding restoration and conservation of paintings, 1929-1963; files on Columbia University, the National Academy of Design, the Newark Museum, The New York State Department of Commerce, the Whitney Museum of Art, subway murals, and other subjects; and correspondence with the U.S. Department of Commerce regarding standards for paints and pigments. Photographs are of Ralph Mayer's paintings. Correspondents include: George Biddle, Isabel Bishop, Alexander Brook, Charles Burchfield, Richard A. Florsheim, Victor Hammer, Stefan Hirsch, Peter Hurd, Lilian MacKendrick, Kenneth H. Miller, Walter Pach, Abraham Rattner, John Sloan, and David Smith.
Bena Frank Mayer's papers consist of biographical material, clippings, correspondence, exhibition catalogs and announcements, and photographs of her paintings. Two scrapbooks contain printed material, letters, and photographs regarding the Mayers' careers.
UNMICROFILMED: Correspondence includes Ralph Mayer's, 1930-1964, mainly concerning the use of artists' materials, Bena Frank correspondence, 1910-1977, and letters concerning Mayer's book, The Painter's Craft, 1948. Among his correspondents are Josef Albers, Thomas Hart Benton, Isabel Bishop, Georgia O'Keeffe, Walter Pach, Paul Sample, John Sloan, and Frederic Taubes. Subject files are on the Artists' Laboratory, the Art Students League, Gustav Berger, Huntington Hartford, the MacDowell Colony, the National Academy of Design, Diego Rivera murals, subway murals, and other subjects. Writings consist of papers on commercial standards of paint, a typescript of The Painter's Craft, and lecture notes from classes Mayer taught at the Art Students League and Columbia University.
Art work consists of sketchbooks and sketches. Photographs are of the Mayers, their studios, family, friends, and paintings. Printed material includes exhibition catalogs and announcements, brochures, clippings, and posters. There are also six scrapbooks, ca. 1930-1940, containing clippings, photographs, letters received, and printed material.
Biographical / Historical:
Ralph Mayer: conservator, restorer, painter. Died 1979. Bena Frank Mayer: painter. They lived in New York. Ralph Mayer was educated as a chemical engineer, and spent several years working in the manufacture of paints and varnishes. He also studied painting at the Art Students League. His work in conservation and artists' materials led him to found the Artists Technical Research Institute in 1959. Author of The Artists Handbook of Materials and Techniques (1940) and The Painter's Craft (1948), and numerous articles. Taught at Columbia University.
Provenance:
Material on reels D211-D213 was lent for microfilming in 1965 by Ralph Mayer. Portions were subsequently donated along with unmicrofilmed material, 1972-1979, by Ralph and Bena Frank Mayer.
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:
Art restorers  Search this
Conservators  Search this
Restorers  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Artists' materials  Search this
Art -- Conservation and restoration  Search this
Art -- Technique  Search this
Identifier:
AAA.mayeralp
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9dd9999e2-6a80-4d08-9531-d0f9c0ecb497
EDAN-URL:
ead_collection:sova-aaa-mayeralp

Laurel Gallery records

Creator:
Laurel Gallery  Search this
Names:
Avery, Milton, 1885-1965  Search this
Bentley, Claude Ronald, 1915-1990  Search this
Brandt, Grace Borgenicht, 1915-2001  Search this
Constant, George  Search this
Ernst, Jimmy, 1920-1984  Search this
Lassaw, Ibram, 1913-2003  Search this
Lenson, Michael, 1903-1971  Search this
Pach, Walter, 1883-1958  Search this
Peterdi, Gabor  Search this
Pytlak, L. (Leonard), 1910-1998  Search this
Ritter, Chris  Search this
Tourtelot, Madeline  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1944-1951
Summary:
The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. The collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.
Scope and Contents:
The Laurel Gallery records measure 0.6 linear feet and date from 1944 to 1951. This small collection sheds light on the gallery's operations through scant correspondence, photographs, printed material, an exhibition inventory, and financial records.

The collection includes letters from artists and museums to gallery director Chris Ritter, and some to the gallery's co-director, Grace Borgenicht; writings on artists Milton Avery, Gabor Peterdi, and Leonard Pytlak. Financial records consist of tax records, notes, bills, price lists, artist agreements, an account book, and a sales book. Also present is an inventory from the exhibition, The New York Society of Women Artists (1947); a scrapbook and loose newspaper clippings; photographs of artists and works of art; a plan for the gallery's marketing, pricing, and financials by Chris Ritter; and photographs, notes, and drafts related to the gallery's quarterly, Laurels.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
The Laurel Gallery was founded in New York City in 1946 by painter, printmaker, and educator, Chris Ritter. The gallery, located at 108 East 57th Street, was an active supporter of contemporary American art. Ritter occasionally exhibited his own work in the Laurel Gallery, but mostly exhibited the work of other avant-garde artists, including Jimmy Ernst, Grace Borgenicht (Laurel Gallery's co-director), Claude Bentley, George Constant, Ibram Lassaw, and others. In addition to exhbitions, the gallery published four portfolios of artists' prints and a quarterly magazine. Ritter closed the gallery in 1952, around the same time Borgenicht opened the Grace Borgenicht Gallery.
Provenance:
The collection was donated by gallery founder Chris Ritter in 1974.
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.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Art, Modern -- 20th century -- History  Search this
Function:
Art galleries, Commercial -- New York (State) -- New York
Citation:
Laurel Gallery records, 1944-1951. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.laurgall
See more items in:
Laurel Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d03e273b-5447-443f-a3f3-0fcfd64c6077
EDAN-URL:
ead_collection:sova-aaa-laurgall

Harry Wickey papers

Creator:
Wickey, Harry  Search this
Society of American Etchers  Search this
Names:
Arms, John Taylor, 1887-1953  Search this
Curry, John Steuart, 1897-1946  Search this
Dehn, Adolf, 1895-1968  Search this
Grosz, George, 1893-1959  Search this
Kent, Rockwell, 1882-1971  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Myers, Jerome, 1867-1940  Search this
Pach, Walter, 1883-1958  Search this
Robinson, Boardman, 1876-1952  Search this
Sloan, John, 1871-1951  Search this
Sternberg, Harry, 1904-2001  Search this
Street, Frank, 1893-1944  Search this
Extent:
0.2 Linear feet (ca. 237 items (on 2 partial microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1918-1973
Scope and Contents:
Letters, printed material, photographs, writings, and two etchings.
REEL 3683: Letters, annotated by Wickey, from John Taylor Arms, John Steuart Curry, Adolph Dehn, Rockwell Kent, Reginald Marsh, Kenneth Hayes Miller, Walter Pach, the Society of American Etchers, and other art organizations discussing art theory, exhibitions, and personal matters; 3 exhibition catalogs, ca. 1931-1973; a notice of a Guggenheim Fellowship award; and two landscape etchings by Wickey.
REEL 1079: A typescript of Wickey's autobiography, THUS FAR, (published by the American Artists Group, 1941); letters from Wickey to Ethel and Virginia Myers about Jerome Myers, and to Mr. and Mrs. Frank Street sent from France during World War I; letters from Syracuse University about the Wickey Collection, and from George Grosz; a list of letters given to Syracuse University; and photographs of Wickey and Grosz.
Biographical / Historical:
Etcher, lithographer, teacher; Cornwall Landing, New York.
Related Materials:
Harry Wickey papers also at Syracuse University.
Provenance:
Material on reel 1079 donated by Mrs. May Wickey, wife of Harry Wickey, 1976. Material on reel 3683 lent for microfilming by Ralph Sandler, the son of Wickey's friend and patron Marc Sandler, 1986.
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:
Etchers -- New York (State)  Search this
Lithographers -- New York (State)  Search this
Topic:
Landscape prints -- 20th century  Search this
Prints -- 20th century -- New York (State)  Search this
Identifier:
AAA.wickharr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f9ff777b-b300-4110-8399-9a26f55526f8
EDAN-URL:
ead_collection:sova-aaa-wickharr

Sidney C. Woodward papers

Creator:
Woodward, Sidney C., 1890-1963  Search this
Names:
Casson Galleries  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Cady, Harrison, 1877-1970  Search this
Henri, Robert, 1865-1929  Search this
Hind, C. Lewis (Charles Lewis), 1862-1927  Search this
Kent, Rockwell, 1882-1971  Search this
La Farge, John, 1835-1910  Search this
Murphy, Hermann Dudley, 1867-1945  Search this
Oakley, Violet, 1874-1961  Search this
Pach, Walter, 1883-1958  Search this
Pennell, Elizabeth Robins, 1855-1936  Search this
Ryder, Chauncey F., 1868-1949  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Extent:
3.5 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Date:
1823-1963
bulk 1915-1932
Summary:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.
Scope and Contents:
The papers of art critic, editor, and gallery director Sidney Woodward date from 1823 to 1963, bulk 1915-1932, and measure 3.5 linear feet. The majority of the collection consists of personal and professional correspondence and collected letters that pertain to Woodward's relationships with various artists, galleries, and arts organizations. Also included in this collection are two biographical documents; lecture notes and collected writings; printed material including books relating to the topic of art, exhibition catalogs, and newspaper clippings; a few personal photographs and reference photographs of paintings; and scrapbooks containing newspaper clippings, art reproductions, and printed material from the Casson Galleries.

Artists that Woodward corresponded with and collected letters from include Ernest L. Blumenschein, Harrison Cady, Robert Henri, C. Lewis Hind, Rockwell Kent, John La Farge, Hermann Dudley Murphy, Violet Oakley, Water Pach, Elizabeth Robins Pennell, and Chauncey Foster Ryder, among many others. A significant number of letters in this collection were sent by his brother, marine painter Stanley, during his service in both World Wars.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Correspondence and Collected Letters, 1823-1963 (2.2 linear feet; Box 1-3)

Series 2: Biographical Material, 1918 (1 folder; Box 3)

Series 3: Writings, circa 1880-1940 (0.1 linear feet; Box 3)

Series 4: Printed Material, circa 1880-1963 (0.4 linear feet; Box 3-4)

Series 5: Photographs, 1910s-1940s (4 folders; Box 4)

Series 6: Scrapbooks, circa 1920-1940 (0.7 linear feet; Box 5, BV 6-7)
Biographical / Historical:
Sidney C. Woodward (1890-1963) was an art critic and editor in Boston, MA. Woodward collected letters and autographs from notable artists, as well as manuscripts relating to art and theater.

Woodward was born on December 11, 1890, in Malden, Massachusetts, son of Alice E. (Colesworthy) and Frank E. Woodward. He was one of eight children and a twin of Stanley, marine painter and illustrator. Woodward was an art critic and editor for the Boston Post, Boston Herald, and Christian Science Monitor; and gallery director of Casson Galleries, and Irving & Casson's art gallery in Boston, MA.
Provenance:
A portion of the collection was purchased by the Archives of American Art from Sidney Woodward in 1963. Additional material was donated in 1975 by Mrs. Sidney C. Woodward.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art critics -- Massachusetts -- Boston  Search this
Gallery directors -- Massachusetts -- Boston  Search this
Editors -- Massachusetts -- Boston  Search this
Topic:
Art -- Collectors and collecting  Search this
Genre/Form:
Photographs
Scrapbooks
Citation:
Sidney C. Woodward papers, 1823-1963, bulk 1915-1932. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.woodsidn
See more items in:
Sidney C. Woodward papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94a8f442a-1dd3-45df-938b-5b4cbcdc5e60
EDAN-URL:
ead_collection:sova-aaa-woodsidn

Selections from the Seymour Adelman collection

Creator:
Adelman, Seymour, 1906-  Search this
Names:
Bregler, Charles  Search this
Eakins, Susan Macdowell  Search this
Eakins, Thomas, 1844-1916  Search this
Hamilton, James, 1819-1878  Search this
Pach, Walter, 1883-1958  Search this
Richards, William Trost, 1833-1905  Search this
Sartain family (Philadelphia, Pa.)  Search this
Sartain, Emily, 1841-1927  Search this
Sartain, Harriet, 1873-1957  Search this
Sartain, John, 1808-1897  Search this
Sartain, Samuel, 1830-1906  Search this
Sartain, William, 1843-1924  Search this
Smith, Russell, 1812-1896  Search this
Smith, Xanthus, 1839-1929  Search this
Extent:
1 Microfilm reel
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1845-1958
Scope and Contents:
The microfilm of selections from the Seymour Adelman collection consists of materials relating to the Sartain family and to Thomas and Susan Eakins.

The Sartain materials include letters (1845-1945) to Emily Sartain, Harriet Sartain, John Sartain, Samuel Sartain, and William Sartain. Correspondents include artists William Trost Richards, James Hamilton, Rusell Smith, and Xanthus Smith.

Eakins material includes letters (1931-1958) to Adelman from Charles Bregler, including a few responses from Adelman; Susan Eakins correspondence (1931-1938), mostly from Eakins to Adelman regarding paintings, commissions, exhibitions, articles, and personal matters; and postcards to Susan Eakins and Thomas Eakins (1890-1933) including one from Walter Pach to Susan Eakins. One letter (1868) from Thomas Eakins to Benjamin Eakins; and two letters to Thomas Eakins are also included. Also found are Thomas Eakins' three account/ledger sheets (1870-1895); miscellaneous Eakins family materials; and photographs by Thomas Eakins, Susan Eakins, and others, primarily formal and informal portraits of Thomas and Susan Eakins, their families, and pets.
Biographical / Historical:
Seymour Adelman (1906-1985) was a collector of rare books, prints, letters, and ephemera in Philadelphia, Pennsylvania. He was on committees and boards for several literary and artistic institutions, including the Philadelphia Academy of Art, the print and drawing committee of the Philadelphia Museum of Art, and the rare book committees of the University of Pennsylvania and the Free Library of Philadelphia. Adelman met Susan Eakins in the 1930s and became her close friend and promoter of the work of Thomas Eakins.

The Sartain family were a family of engravers and painters in Philadelphia, Pennsylvania. John Sartain came to the United States from England in 1830 and pioneered mezzotint engraving in the US. Of his eight children, his sons William and Samuel and daughter Emily became artists, as did his granddaughter Harriet. His son Henry, Harriet's father, was a printer and printed engravings in Philadelphia.

Thomas Eakins (1844-1916) was a realist painter and educator in Philadelphia. Eakins taught at the Pennsylvania Academy of the Fine Arts and promoted a curriculum based on the study of the human figure. He was forced to resign in 1886 after a dispute regarding the use of nude male models in life drawing classes with women artists present. Susan Hanah Macdowell Eakins (1851-1938) was photographer and painter who studied at the Pennsylvania Academy of the Fine Arts under Thomas Eakins, whom she later married. She devoted much of her time to supporting her husband's career. After Thomas Eakins' death in 1916, she painted prolifically. Her first solo exhibition was held in 1976.
Related Materials:
Bryn Mawr College holds the Adelman Collection. Columbia University Rare Books and Manuscripts Library holds the Seymour Adelman collection, 1724-1956.
Provenance:
Lent for microfilming 1991 by Bryn Mawr College. Microfilmed as part of AAA's Philadelphia Arts Documentation Project. The material was selected from over 45 linear ft. of manuscript material in the Adelman Collection.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Occupation:
Artists -- United States  Search this
Identifier:
AAA.adelseym
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d2d31a42-91a0-4b7b-aa54-3fd86004f307
EDAN-URL:
ead_collection:sova-aaa-adelseym

Claribel and Etta Cone letters

Creator:
Cone, Etta  Search this
Cone, Claribel  Search this
Names:
Fiene, Ernest, 1894-  Search this
Kroll, Leon, 1884-1974  Search this
Matisse, Henri, 1869-1954  Search this
Pach, Walter, 1883-1958  Search this
Silbert, Ben, 1893-  Search this
Stein, Gertrude, 1874-1946  Search this
Taylor, Prentiss, 1907-1991  Search this
Tworkov, Jack  Search this
Zorach, William, 1887-1966  Search this
Extent:
6 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
1898-1949
Scope and Contents:
Correspondence between Claribel and Etta Cone and Cone family members; forty letters from Henri Matisse, 1929-1949, and letters from Marguerit Matisse Duthuit, Leon Kroll, Walter Pach, L. R. Pissaro, Ben Silbert, Gertrude Stein, John Rewald, Jack Tworkov, Vincent van Gogh, William and Marguerite Zorach, and others. Enclosed with the letters are typescripts of essays by Ben Silbert, "Landscape-My First Watercolor" and "Concerning Some of My Drawings"; a draft typescript of a talk by Gertrude Stein, "The Value of College Education for Women"; and clippings.
Biographical / Historical:
Claribel (1864-1929) and Etta Cone (1870- ) were art collectors in Baltimore, Maryland.
Provenance:
Lent for microfilming 1987 by the Baltimore Museum of Art.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote, or reproduce requires written permission from the Archivist at the Baltimore Museum of Art Library. 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.
Occupation:
Collectors -- Maryland  Search this
Topic:
Art -- Collectors and collecting  Search this
Art, Modern  Search this
Identifier:
AAA.coneetta
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9c20a4227-1bca-44d4-aa52-0db5716d606b
EDAN-URL:
ead_collection:sova-aaa-coneetta

Manierre Dawson papers

Creator:
Dawson, Manierre, 1887-1969  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Blum, Jerome, 1884-1956  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Heap, Jane  Search this
Pach, Walter, 1883-1958  Search this
Stein, Gertrude, 1874-1946  Search this
Watson, Dudley Crafts, 1885-  Search this
Extent:
30 Items ((on 2 microfilm reels))
Type:
Collection descriptions
Archival materials
Date:
1904-1963
Scope and Contents:
Letters; a journal, 1908-1922, 1939-1940; a record of Dawson's painting and sculpture, 1904-1963; and an exhibition catalog.
REEL 64: Letters received including, 11 from Walter Pach of the Association of American Painters and Sculptors, 7 from Dudley Crafts Watson as Director of the Milwaukee Art Society, and letters from Jerome Blum, from Chicago journalist Hi Simousy, and from G. G. Wing, president of the Ludington State Bank, for which Dawson painted a mural. Also included is a xerox of a journal, 1908-1922, 1939-1940, in which Dawson comments on: work as a draftman for Holabird and Roche, Chicago, and other architectural firms, meetings with Gertrude Stein, Arthur Davies, Dudley Watson and Walter Pach; the Armory Show, the Montross Gallery Show and the subsequent tour; meetings with Margaret Anderson and Jane Heap. Entries after 1914 record domestic affairs on Dawson's farm in Ludington, with intermittent comments on his painting and sculpture.
REEL 2428: Dawson's record of paintings and sculpture, 1904-1963; and an exhibition catalog of the Milwaukee Art Society, 1914.
Biographical / Historical:
Painter, sculptor; Milwaukee, Wisconsin, Chicago, Illnois, Ludington, Michigan.
Provenance:
Material on reel 64 donated 1969 by Manierre Dawson. Material on reel 2428 donated 1982 by Marianne Gedo, who was doing research on Dawson.
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:
Painters  Search this
Sculptors  Search this
Topic:
Art, American  Search this
Identifier:
AAA.dawsmani
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw968a59433-9944-45bd-aa2d-2fcd5e238e20
EDAN-URL:
ead_collection:sova-aaa-dawsmani

Albert Duveen art reference files

Creator:
Duveen, Albert  Search this
Names:
Centurion (Firm)  Search this
Holland House Corporation of the Netherlands  Search this
Alexander, Francis, 1800-1880  Search this
Allston, Washington, 1779-1843  Search this
Bartlett, W. H. (William Henry), 1809-1854  Search this
Ben-Zion  Search this
Birch, Thomas, 1779-1851  Search this
Blackburn, Joseph, fl. 1753-1763  Search this
Blakelock, Ralph Albert, 1847-1919  Search this
Blauvelt, Charles F., 1824-1900  Search this
Blume, Peter, 1906-1992  Search this
Branchard, Emile Pierre, 1881-1938  Search this
Browere, A. D. O. (Alburtis Dell Orient), 1814-1887  Search this
Brown, John George, 1831-1913  Search this
Buddington, Jonathan  Search this
Buttersworth, James Edward, 1817-1894  Search this
Carter, Dennis Malone, 1827-1881  Search this
Cassatt, Mary, 1844-1926  Search this
Catlin, George, 1796-1872  Search this
Chabor, Moura  Search this
Chagall, Marc, 1887-1985  Search this
Chambers, Thomas, b. 1807 or 8  Search this
Charlot, Jean, 1898-1979  Search this
Cole, Thomas, 1801-1848  Search this
Constable, John, 1776-1837  Search this
Cope, George, 1855-1929  Search this
Copley, John Singleton, 1738-1815  Search this
Crawford, Ralston, 1906-1978  Search this
Cropsey, Jasper Francis, 1823-1900  Search this
Cézanne, Paul, 1839-1906  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Despiau, Charles, 1874-1946  Search this
Detre, Roland, 1903-  Search this
Dibble, Thomas R. (Thomas Reilly), 1898-  Search this
Donati, Enrico, 1909-2008  Search this
Doriani, William, 1891-  Search this
Doughty, Thomas, 1793-1856  Search this
Drew-Bear, Jessie, 1877?-1962  Search this
Duncanson, Robert S., 1821-1872  Search this
Durand, Asher Brown, 1796-1886  Search this
Durrie, George Henry, 1820-1863  Search this
Duveneck, Frank, 1848-1919  Search this
Duyckinck, Evert A. (Evert Augustus), 1816-1878  Search this
Eakins, Thomas, 1844-1916  Search this
Eichholtz, Jacob, 1776-1842  Search this
Eilshemius, Louis M. (Louis Michel), 1864-1941  Search this
Elliott, Charles Loring, 1812-1868  Search this
Field, Robert, 1769?-1819  Search this
Ganso, Emil, 1895-1941  Search this
Gargallo, Pablo, 1881-1934  Search this
Gelb, Jan, 1906-1978  Search this
Gillman, Paul  Search this
Gullager, Christian  Search this
Hall, George Henry, 1825-1913  Search this
Harding, Chester, 1792-1866  Search this
Harnett, William Michael, 1848-1892  Search this
Harvey, George W., 1855-  Search this
Hays, William Jacob, 1830-1875  Search this
Healy, G. P. A. (George Peter Alexander), 1813-1894  Search this
Henry, Edward Lamson, 1841-1919  Search this
Hesselius, John, 1728-1778  Search this
Hicks, Edward, 1780-1849  Search this
Hicks, Thomas, 1823-1890  Search this
Homer, Winslow, 1836-1910  Search this
Hudson, Samuel Adams, 1813-1894  Search this
Huntington, Daniel, 1816-1906  Search this
Inman, Henry, 1801-1846  Search this
Inness, George, 1825-1894  Search this
Jarvis, John Wesley, 1780-1840  Search this
Johnson, Eastman, 1824-1906  Search this
Johnston, Henrietta  Search this
Johnston, John Bernard, 1847-1886  Search this
Kayn, Hilde B., 1903-1950  Search this
Kelekian, Dikran, 1868-1951  Search this
Lane, Fitz Hugh, 1804-1865  Search this
Lawson, Ernest, 1873-1939  Search this
Lefferts, M. F.  Search this
Leigh, William Robinson, 1866-1955  Search this
Lincoln, Abraham, 1809-1865  Search this
Luks, George Benjamin, 1867-1933  Search this
Malbone, Edward Greene, 1777-1807  Search this
Maurer, Alfred Henry, 1868-1932  Search this
Maurer, Louis, 1832-1932  Search this
Miller, Alfred Jacob, 1810-1874  Search this
Moeller, Louis, 1855-1930  Search this
Morse, Samuel Finley Breese, 1791-1872  Search this
Neagle, John, 1796-1865  Search this
Organ, Donald  Search this
Otis, Bass, 1784-1861  Search this
Pach, Walter, 1883-1958  Search this
Peale, Charles Willson, 1741-1827  Search this
Peale, James, 1749-1831  Search this
Peale, Rembrandt, 1778-1860  Search this
Penn, William, 1644-1718  Search this
Perry, E. W. (Enoch Wood), 1831-1915  Search this
Philippoteaux, Fʹelix Emmanuel Henri, 1815-1884  Search this
Polk, Charles Peale, 1767-1822  Search this
Pope, T. B. (Thomas Benjamin), d. 1891  Search this
Porter, Rufus, 1792-1884  Search this
Prior, William Matthew, 1806-1873  Search this
Quirt, Walter, 1902-  Search this
Ranney, William Tylee, 1813-1857  Search this
Remington, Frederic, 1861-1909  Search this
Robins, Louisa Winslow, 1898-1962  Search this
Roesen, Severin, ca. 1815-ca. 1872  Search this
Rosenthal, Albert, 1863-1939  Search this
Rossiter, Thomas Prichard, 1818-1871  Search this
Rothermel, Peter Frederick, 1812-1895  Search this
Russell, Charles M. (Charles Marion), 1864-1926  Search this
Saint-Mémin, Charles Balthazar Julien Fevret de, 1770-1852  Search this
Savage, Edward, 1761-1817  Search this
Sawitzky, William, 1880-1947  Search this
Schattenstein, Nikol, 1877-1954  Search this
Schussele, Christian, 1826?-1879  Search this
Serres, D.  Search this
Sharples, James, ca. 1751-1811  Search this
Shulman, Morris  Search this
Smibert, John, 1688-1751  Search this
Soudeikine, Serge  Search this
Soutine, Chaim, 1893-1943  Search this
Spencer, Frederick R., 1806-1875  Search this
Stewart, Albert T., 1900-1965  Search this
Street, Robert, 1796-1865  Search this
Strong, William J.  Search this
Stuart, Gilbert, 1755-1828  Search this
Sullivan, Charles, 1794-1867  Search this
Sully, Thomas, 1783-1872  Search this
Tait, Arthur Fitzwilliam, 1819-1905  Search this
Tirrell, G.  Search this
Trumbull, John, 1756-1843  Search this
Vanderlyn, John, 1775-1852  Search this
Vanderlyn, Pieter, ca. 1687-1778  Search this
Von Schlegell, William, 1877-1950  Search this
Waldo, Samuel, 1783-1861  Search this
Walkowitz, Abraham, 1880-1965  Search this
Washington, George, 1732-1799  Search this
Weinberg, Elbert, 1928-  Search this
Weir, Julian Alden, 1852-1919  Search this
Welch, Thomas B., 1814-1874  Search this
Wertmüller, Adolph Ulric, 1751-1811  Search this
West, Benjamin, 1738-1820  Search this
Whitney, Anne, 1821-1915  Search this
Wiltz, Arnold, 1889-1937  Search this
Winner, W. E. (William E), -1883  Search this
Wood, S.  Search this
Wood, Thomas Waterman, 1823-1903  Search this
Extent:
5 Microfilm reels
Type:
Collection descriptions
Archival materials
Microfilm reels
Date:
[ca. 1831-1950]
Scope and Contents:
Files on ca. 150 American artists and art subjects, selected from Duveen's art reference files. Included are photographs of paintings in other collections, auction and exhibition catalogs, miscellaneous publications.
Files include: Francis Alexander, Washington Allston, William H. Bartlett, Ben-Zion, Thomas Birch, Joseph Blackburn, Ralph A. Blakelock, Charles F. Blauvelt, Peter Blume, Emile Branchard, Albertis D. O. Browere, John G. Brown, Jonathan Buddington, James E. Buttersworth, Carra, Dennis M. Carter, Mary Cassatt, George Catlin, Centurion, Paul Cezanne, Moura Chabor, Marc Chagall, T. Chambers, Jean Charlot, Thomas Cole, John Constable, George Cope, John S. Copley, Ralston Crawford, Jasper F. Cropsey, Arthur B. Davies, Charles Despiau, Roland Detre, Thomas R. Dibble, Enrico Donati, William Doriani, Thomas Doughty, Jessie Drew-Bear, Robert S. Duncanson, Dunlap, Asher B. Durand, George H. Durrie, Frank Duveneck, Evert Duyckinck, Thomas Eakins, Jacob Eichholtz, Louis M. Eilshemius, Charles L. Elliott, Robert Field, Emil Ganso, Pablo Gargallo, Jan Gelb, Paul Gillman, Christian Gullager, George H. Hall, Chester Harding, William M. Harnett, George Harvey, William J. Hays, George P. A. Healy, Edward L. Henry, John Hesselius, Edward Hicks, Thomas Hicks, Holland House, Charles Fevret de Saint-Memin, Winslow Homer, S. A. Hudson, Daniel Huntington, Henry Inman, George Inness, John W, Jarvis, Eastman Johnson, Henrietta Johnston, John Johnston, Hilde B. Kayn, Dikran K. Kelekian, Fitz Hugh Lane, Ernest Lawson, M. F. Lefferts, William R. Leigh, Abraham Lincoln, George B. Luks, Edward G. Malbone, Alfred H. Maurer, Louis Maurer, McKay, Alfred J. Miller, Louis C. Moeller, Samuel F. B. Morse, John Neagle, Donald Organ, Bass Otis, Walter Pach, Charles W. Peale, James Peale, Rembrandt Peale, William Penn, Enoch W. Perry, F. E. H. Philippoteaux, Charles P. Polk, T. B. Pope, Rufus Porter, William M. Prior, Walter Quirt, William T. Ranney, Reinhardt, Frederic Remington, Louisa Robins, Severin Roesen, Thomas P. Rossiter, Peter F. Rothermel, Charles M. Russell, Edward Savage, William Sawitzky, Nikol Schattenstein, Christian Schussele, D. Serres, James Sharples, Morris Shulman, John Smibert, Sergei Soudeikin, Haim Soutine, Frederick R. Spencer, Albert Stewart, Robert Street, William J. Strong, Gilbert Stuart, C. (Charles ?) Sullivan, Thomas Sully, Arthur F. Tait, G. Tirrell, John Trumbull, John Vanderlyn, Pieter Vanderlyn, William Von Schlegell, Samuel L. Waldo, Abraham Walkowitz, George Washington, Elbert Weinberg, Julian A. Weir, Thomas B. Welch, Adolph U. Wertmuller, Benjamin West, Anne Whitney, Arnold Wiltz, William E. Winner, S. Wood, and Thomas W. Wood.
The Saint-Memin, Stuart, B. West and Wertmuller files contain material from Albert Rosenthal relating to the above artists.
Arrangement:
Files are arranged alphabetically by artist and subject, rolls NDU1-NDU3; publications and other miscellany were filmed on rolls NDU4-NDU5.
Biographical / Historical:
Albert Duveen was an art dealer and collector with offices in New York, N.Y., specializing in early American art. He was a cousin to Joseph Duveen (1869-1939), 1st Baron Duveen, president of Duveen Brothers art dealers.
Provenance:
Lent for microfilming 1958 by Duveen.
Restrictions:
The Archives does not own the original papers. Microfilmed materials must be consulted on microfilm.
Topic:
Art, American  Search this
Identifier:
AAA.duvealbe2
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98968d056-cbe2-4e51-b974-7ee4067bcbae
EDAN-URL:
ead_collection:sova-aaa-duvealbe2

Arnold Friedman papers

Creator:
Friedman, Arnold, 1874-1946  Search this
Zabriskie Gallery  Search this
Names:
Barr, Alfred H., Jr., 1902-1981  Search this
Osborn, Robert Chesley, 1904-1994  Search this
Pach, Walter, 1883-1958  Search this
Phillips, Duncan, 1886-1966  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Extent:
0.2 Linear feet ((177 items))
Type:
Collection descriptions
Archival materials
Date:
[ca. 1910-1984]
Scope and Contents:
Letters, undated and 1933-1946, from Albany Institute of History and Art, Art Institute of Chicago, Alfred Barr, Cincinnati Art Museum, Robert W. Leeds, Metropolitan Museum of Art, Robert C. Osborn, Duncan Phillips, Homer Saint-Gaudens, Edward B. Rowan and Edward Bruce, Treasury Section of Fine Arts, and others.
Also includes a citation, 1945, for meritorious service rendered in the U.S. Treasury Department's Seventh War Loan; letters to Friedman's widow, Renee, 1946-1949 and 1961, from Walter Pach, Robert C. Osborn, and others; a photocopy of the decision of the Appellate Division of the New York Supreme Court regarding the ownership of 305 works by Friedman, 1977; exhibition catalogs and announcements, undated and ca. 1925-1983; clippings, press releases and Zabriskie Gallery newsletters, 1940-1984; photographs of Friedman, his family and friends, undated and ca. 1910-1913; and miscellany.
Biographical / Historical:
Painter; New York, N.Y. Birthdate also given as 1872, 1879, and 1882.
Provenance:
Donated 1984 by Elizabeth Friedman, daughter of Arnold Friedman.
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:
Painters -- New York (State) -- New York  Search this
Identifier:
AAA.friearno
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9afead16d-8d96-40cd-a585-dff5ad929d56
EDAN-URL:
ead_collection:sova-aaa-friearno

Ida Guggenheimer correspondence with Walter Pach and related miscellaneous material

Creator:
Guggenheimer, Ida, 1866-1959  Search this
Pach, Walter, 1883-1958  Search this
Extent:
0.2 Items (linear ft. (on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1929-1951
Scope and Contents:
Fifty-seven letters from Walter and Magda Pach to Guggenheimer and a letter from Guggenheimer to Pach, discussing personal and art-related matters; a list of illustrations on art appreciation from the New York Women's Trade Union League; 3 lists of miscellaneous names and addresses; a 15-page essay "Tradition" by Walter Pach, 1934; 3 clippings, 1930-1950; an exhibition catalog for Pach from the Galerie Dru, Paris, 1932.
Biographical / Historical:
Ida Espen Guggenheimer (Mrs. Jay C. Guggenheimer) was a noted feminist. Walter Pach was a painter and critic.
Provenance:
The donor, Clara Binswanger, is the daughter of Ida Guggenheimer.
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:
Art critics -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Feminists  Search this
Identifier:
AAA.guggida
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93f782bb1-bd82-4086-8ff6-f0ee1a6a3d3a
EDAN-URL:
ead_collection:sova-aaa-guggida

Morris Kantor papers

Creator:
Kantor, Morris, 1896-1974  Search this
Names:
Andrews, Sperry, 1917-  Search this
Benno, Benjamin, 1901-1980  Search this
Brodsky, Edith  Search this
Forman, Alice, 1931-  Search this
Grosz, George, 1893-1959  Search this
Hatofsky, Anita  Search this
Hattorf, Alvin F., 1899-  Search this
Hattorf, Helen King  Search this
Hubbard, John E., 1931-  Search this
Koepf, Werner, 1909-  Search this
Kootz, Samuel Melvin, 1898-1982  Search this
Lund, David, 1925-  Search this
McCoy, Garnett  Search this
Pach, Walter, 1883-1958  Search this
Patterson, Charles Allen, 1922-  Search this
Reif, Rubin, 1910-  Search this
Ross, Alvin, 1920-1975  Search this
Sekula, Sonja, 1918-1963  Search this
Vytlacil, Vaclav, 1892-1984  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
3.6 Linear feet ((on 4 microfilm reels))
0.7 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Date:
1905-1977
Scope and Contents:
Correspondence, exhibition materials, writings, printed materials, photographs, sketchbooks, and scrapbooks.
REEL D114: Correspondence, including letters from students, friends, and institutions; sketchbooks; and scrapbooks. Correspondents include: Sperry Andrews, Benjamin G. Benno, Edith Brodsky, Alice Forman, George Grosz, Anita Hatofsky, Alvin and Helen King Hattorf, John E. Hubbard, Werner Koepf, Samuel M. Kootz, David Nathan Lund, Garnett McCoy, Walter Pach, Charles Allen Patterson, Rubin Reif, Alvin Ross, Sonia Sekula, Vaclav Vytlacil, and Franklin C. Watkins.
REEL 969: Correspondence, mostly concerning the exhibition and loan of paintings; exhibition catalogs and announcements; clippings; and photographs of his work with Kantor's notes analyzing them.
REEL 3784-3785 Biographical material; correspondence, including letters from Kantor's students, personal letters, letters of condolence to Kantor's widow after his death, and others; notes on painting and teaching, and drafts for lectures; business records, including statements from the Rehn Gallery, a record book of income and expenses, receipts and records relating to teaching and household expenses; art works, including working drawings, sketches and paintings on paper; exhibition catalogs and announcements; printed material; and photographs of Kantor and of his work.
REEL 439 AND SCANNED Photo of Kantor, taken by Kuniyoshi,and previously microfilmed under Photos of Artists I; it has now been scanned and returned to the Kantor papers.
ADDITION: A resume; a letter from Ala Story, 1972; ten notebooks and loose pages containing handwritten notes, essays, and other writings by Kantor; an account book, 1971-1973; photographs of the Kantor family, ca. 1905, photographs of Kantor, Kantor in his Welfleet, Mass. studio, his work, his New York studio at the time of his death taken by Lee Friedlander, and snapshots of the view of Union Square from his studio window; among the photographers are Peter A. Juley & Son, De Witt Ward, and Yasuo Kiniyoshi; exhibition catalogs and announcements, 1929-1971; reproductions of paintings by Kantor; and clippings, 1965-1974. Also included are letters from the Zabriskie Gallery to Mrs. Morris Kantor, 1976.
Biographical / Historical:
Painter; New City, N.Y.
Provenance:
Materials on reels D114 and 969 donated 1963-1969 by Morris Kantor. Material on reels 3784-3785 donated 1976-1984 by Martha (Mrs. Morris) Kantor and Syracuse University, which had been given some of Kantor's papers. The addition was transferred from the National Museum of American Art, 1997, which had received it from Martha Kantor for use in researching the large number of Kantor's works in the museum's collection.
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:
Painters -- New York (State) -- New City  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Identifier:
AAA.kantmorr
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw959b33a7f-8537-40b8-af07-7ced2803add8
EDAN-URL:
ead_collection:sova-aaa-kantmorr

Louis and Annette Kaufman papers

Creator:
Kaufman, Louis, 1905-1994  Search this
Kaufman, Annette  Search this
Names:
Avery, Milton, 1885-1965  Search this
Avery, Sally  Search this
Burliuk, David, 1882-1967  Search this
Kokoschka, Oskar, 1886-  Search this
Lebduska, Lawrence, 1894-1966  Search this
Levine, Jack, 1915-2010  Search this
Léger, Fernand, 1881-1955  Search this
Pach, Walter, 1883-1958  Search this
Rosenberg, Paul, 1881-1959  Search this
Walkowitz, Abraham, 1880-1965  Search this
Extent:
282 Items ((on 2 microfilm reels))
0.4 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Date:
1931-2000
Scope and Contents:
Correspondence, financial papers, and printed materials.
REEL 1119: Correspondence; financial papers relating to house repairs; exhibition announcements, invitations, and other printed material relating to Fernand Leger, Walter Pach, Milton Avery, David Burliuk, and Abraham Walkowitz; and three photographs of Paul Rosenberg, Milton and Sally Avery, Louis and Annette Kaufman at the Rosenberg Gallery during a 1945 Avery exhibition.
REEL 1189: Letters to the Kaufmans from Sally, Milton, and March Avery, David Burliuk, Oskar Kokoschka, Lawrence Lebduska, Jack Levine, and Walter Pach. Also included is a clipping concerning Louis Kaufman's career as a concert violinist, 1976.
ADDITION: Research material on Milton Avery, David Burliuk, and Louis Eilshemius (photocopies of newspaper and magazine articles); Avery exhibition catalogs (1961-2000), including Milton Avery Revisited: Works from the Louis and Annette Kaufman Collection, Syracuse University Art Collection (1999-2000); two magazines, Art Bulletin (1932) and Color and Rhyme (1940); and book, Milton Avery: Prints and Drawings, 1930-1964, Brooklyn Museum of Art, 1966.
Biographical / Historical:
Collectors; Los Angeles, Calif. Noted American violinist, Louis Kaufman (1905-1994) , He attended Institute of Music Art (Julliard), New York at age of 13 to study with violinist Franz Kneisel. His wife, Annette (née Leibole), a gifted pianist and fellow student at the Institute, met Kaufman in 1932. They married a year later and she went on his to be his accompanist for more than fifty years. Settling in Los Angeles, Kaufman became active as a studio performer for more fourteen years in the film industry. The Kaufmans amassed a significant collection when they were still in New York of prints and early 20th century modern art which they have given to major institutions including the National Gallery of Art, Syracuse University, and University of Wisconsin. Among their close artist friends were Milton and Sally Avery, David Burliuk, Mark Rothko, and Louis M. Eilshemius. Their correspondence was donated to the Library of Congress along with his music archives.
Provenance:
Material on reels 1119 and 1189 was lent for microfilming 1976-1977 by the Kaufmans. In 2002, an additional 0.4 ft. was donated by Annette Kaufman; the donation does not include material previously lent.
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.
Addition: Unmicrofilmed; use requires an appointment and is limited to AAA's Washington, D.C. office.
Occupation:
Collectors -- California -- Los Angeles  Search this
Musicians -- California -- Los Angeles  Search this
Topic:
Art -- Collectors and collecting  Search this
Women artists  Search this
Identifier:
AAA.kaufloui
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94887d871-6354-43f6-9963-900625fdc005
EDAN-URL:
ead_collection:sova-aaa-kaufloui

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
International Exhibition of Modern Art  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
New York school of art  Search this
Modernism (Art)  Search this
Function:
Arts organizations -- New York (State)
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
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