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Creator:

Kraushaar Galleries  Search this

Names:

Art Institute of Chicago  Search this

Carnegie Institute  Search this

Cleveland Museum of Art  Search this

Ernest Brown and Co.  Search this

Museum of Modern Art (New York, N.Y.)  Search this

New Britain Institute. Art Museum  Search this

Toledo Museum of Art  Search this

University of Nebraska--Lincoln. Department of Art  Search this

Whitney Museum of American Art  Search this

Wichita Art Museum  Search this

Albrizio, Humbert, 1901-1970  Search this

Allard, J.  Search this

Arnest, Bernard, 1917-  Search this

Bacon, Peggy, 1895-1987  Search this

Beal, Gifford, 1879-1956  Search this

Beal, Reynolds, 1866-1951  Search this

Bignou, Etienne  Search this

Bouché, Louis, 1896-1969  Search this

Brueming, Karen  Search this

Cantene, David  Search this

Cowles, Russell, 1887-1979  Search this

DeLonga, Leonard  Search this

Demuth, Charles, 1883-1935  Search this

Evett, Kenneth Warnock, 1913-  Search this

Fausett, Dean, 1913-  Search this

Flannery, Vaughn  Search this

Glackens, Edith  Search this

Glackens, William J., 1870-1938  Search this

Guillaume, Paul, 1891-1934  Search this

Halberstadt, Ernst, 1910-1987  Search this

Hardy, Thomas, 1921-  Search this

Harrison, Preston  Search this

Hartell, John  Search this

Heliker, John, 1909-2000  Search this

Juley, Peter A., 1862-1937  Search this

Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this

Kraushaar, Antoinette M., 1902-1992  Search this

Kraushaar, John F., 1871-1946  Search this

Kuhn, Walt, 1877-1949  Search this

Lachaise, Gaston, 1882-1935  Search this

Lasker, Joe  Search this

Laurent, Robert, 1890-1970  Search this

Lechay, James  Search this

Luks, George Benjamin, 1867-1933  Search this

Miller, Harriette  Search this

Morris, Carl, 1911-1993  Search this

Murdock, Roland P. -- Art collections  Search this

Navas, Elizabeth S., 1885-1979  Search this

Penney, James, 1910-1982  Search this

Phillips, Duncan, 1886-1966  Search this

Prendergast, Charles, 1863-1948  Search this

Prendergast, Maurice Brazil, 1858-1924  Search this

Robinson, Boardman, 1876-1952  Search this

Ruellan, Andrée, 1905-2006  Search this

Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this

Sloan, John, 1871-1951  Search this

Smalley, David, 1940-  Search this

Smith, Vernon, 1894-1969  Search this

Stanley, Alix W.  Search this

Williams, Esther, 1907-1969  Search this

Wilson, Ralph L.  Search this

Extent:

106.3 Linear feet

0.181 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Date:

1877-2006

Summary:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

Scope and Content Note:

The records of New York City Kraushaar Galleries measure 106.3 linear feet and 0.181 GB and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

The collection reflects all activities conducted in the day-to-day administration of the business and relates to the acquisition, consignment, loan, sale, and exhibition of art by twentieth-century American artists and European artists of the nineteenth and early twentieth centuries. The records document specific arrangements for loans and exhibitions, artist-dealer relations, relationships with public and private collectors, interaction with the art dealer community, and routine requests for information.

Much of the artist correspondence relates to practical arrangements for exhibitions of artwork, but in many cases also documents the development of individual artists and the effect of their relationship with the galleries on their ability to produce marketable work. Many of the artists represented in the collection also wrote lengthy letters, particularly to Antoinette Kraushaar, describing their attitudes to their work and providing insight into how that work was shaped by events in their personal lives.

The bulk of the correspondence with museums and institutions concerns practical arrangements for loans of artwork and provides detailed information about market prices and insurance values. It offers insight into the general climate of opinion toward particular artists and styles at any given time. Correspondence with other galleries and dealers also concerns loans and sales of artwork but, due to the typically cordial and cooperative nature of relations between the Kraushaars and their contemporaries, may also provide a more extensive and personal view of relationships and trends in the art dealer community. Similarly, while a portion of the correspondence with private collectors concerns routine requests for information and loans of art on approval, there is also substantive correspondence documenting the development of the artistic vision of collectors such as Preston Harrison, Elizabeth S. Navas, and Duncan Phillips.

From 1917 to the mid-1930s correspondence was handled mainly by John Kraushaar, and the bulk of that relating to European galleries and European art can be found during these years. Although there are only a handful of materials before 1926, records from the 1920s and 1930s document Kraushaar Galleries' growing commitment to American artists and the climate of the market for their work. The financial hardships of the Depression are vividly depicted in the numerous letters written during the 1930s seeking payment on accounts receivable and requesting extensions on accounts payable.

From the mid-1930s to 1968 correspondence was conducted primarily by Antoinette Kraushaar and, to some degree, by her assistants in later years. As the galleries' focus on American art increased, so did the volume of correspondence with artists, and the collection is particularly rich during the 1940s and early 1960s. In later years to 2006, most of the correspondence was conducted by Carol Pesner and gallery assistants.

The exhibition catalogs included in the collection do not represent a complete set. Those found are working copies used by the galleries in preparation for exhibitions and are often annotated with prices or insurance values. Additional exhibition catalogs can be found on the microfilm described in the Administrative Information section of this finding aid.

The majority of Kraushaar Galleries' insurance records can be found in files relating to the company Wm. E. Goodridge & Son, later known as Wm. E. Goodridge, Inc. Shipping and transportation records are generally filed under the names of the companies used for such transactions and can primarily be found under Davies, Turner & Co., Hudson Forwarding & Shipping Co., Railway Express Agency, Inc., and W. S. Budworth & Son, and to a lesser degree under American Railway Express Company, Arthur Lenars & Cie., C. B. Richard & Co., De La Rancheraye & Co., Hayes Storage, Packing & Removal Service, Inc., and Willis, Faber & Co. Ltd.

The 2008-2022 additions include correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-1999, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed and digital materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.

See Appendix for a list of Kraushaar Galleries exhibitions

Arrangement:

Kraushaar Galleries generally filed all types of records together with correspondence in a combination of alphabetical and chronological files. Thus financial records, insurance records, receipts, photographs, and exhibition catalogs can be found interfiled with general correspondence in Series 1-3. A group of photographs of artwork maintained separately by Kraushaar Galleries constitutes Series 4. Series 6 was minimally processed separately from Series 1-5, and the arrangement reflects the original order of the addition for the most part.

Records in Series 1-3 were originally filed alphabetically by name of correspondent and then by month, by a span of several months, or by year. The alphabetical arrangement has been retained, but to facilitate access the collection was rearranged so that correspondence was collated by year. From 1901 to 1944 outgoing letters and incoming letters are filed separately; in 1945 some outgoing letters are filed separately, with the bulk of the material filed together as correspondence; from 1946 to 1968 incoming and outgoing letters are filed together as correspondence.

For Series 1-3 organizations or individuals represented by at least 15 letters are filed in separate file folders. All other correspondents are arranged in general files by letters of the alphabet, with selected correspondents and subjects noted in parentheses after the folder title.

Series 2 and several boxes in Series 3 contain a variety of notes and receipts received and created by Kraushaar Galleries that were originally unfoldered. The notes can be found in folders adjacent to the receipts and include handwritten notes of customer names and addresses, financial notes and calculations, catalogs of exhibitions, invitations and announcements to exhibitions frequently used as note paper, and other miscellany. Although most of the miscellaneous notes are undated, they are filed, with the receipts, at the end of the year to which they appear to relate. For the years 1929 and 1930 Kraushaar Galleries created separate alphabetical files for some of the billing statements received from other businesses. These have been filed adjacent to "Miscellaneous Notes" and "Receipts" in the appropriate years.

Kraushaar Galleries tended to file correspondence with businesses alphabetically according to the letter of the last name: for example, Wm. E. Goodridge & Son would be filed under G rather than W.

Missing Title

Series 1: Outgoing Letters, 1920-1945 (boxes 1-9; 9 linear ft.)

Series 2: Incoming Letters (boxes 10-26; 16.25 linear ft.)

Series 3: Correspondence, 1945-1968 (boxes 26-53; 27.75 linear ft.)

Series 4: Photographs, undated (box 54; 0.5 linear ft.)

Series 5: Artwork, [1926, 1938] (box 53; 2 items)

Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, 101-117, BV100; 52.3 linear feet, ER01-ER02; 0.181 GB)

Historical Note:

Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.

In 1901 Kraushaar moved the business to 260 Fifth Avenue and with the assistance of his brother, John F. Kraushaar, began adding more modern French and American painters to the inventory. Of particular interest to John Kraushaar was the group of American realists known as "The Eight," who had held a self-selected, self-organized exhibition at the Macbeth Gallery in 1908. The Eight were Arthur B. Davies, William Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. Luks, whom John Kraushaar met around 1902, was probably the first major American artist represented at Kraushaar Galleries. In 1917 John Sloan was invited to hold his first one-person show at the galleries despite accusations that his exhibition at the Whitney Studio the previous year had represented a brutal depiction of life that lacked subtlety and sensitivity.

When Charles Kraushaar died suddenly in 1917, John assumed control of the galleries and soon enlisted the assistance of his daughter, Antoinette Kraushaar. Antoinette had suffered a bout of pneumonia during the influenza epidemic of 1918 that cut short her education; grooming her for a career in the galleries was a logical step. Following the end of the First World War, Kraushaar resumed his buying trips to Europe, often accompanied by Antoinette, and exhibited works by European artists such as André Derain, Henri Matisse, Amedeo Modigliani, Pablo Picasso, Henri de Toulouse-Lautrec, and Vincent Van Gogh. However, it was the increasing commitment to contemporary American artists for which the galleries would become best known. In addition to The Eight, the Kraushaars developed their inventory of American paintings and etchings with exhibitions of work by artists such as Gifford Beal, Charles Demuth, Guy Pène Du Bois, Gaston Lachaise, Jerome Myers, Charles Prendergast, and Henry Schnakenberg.

Returning from a buying trip to Europe in 1929, John Kraushaar wrote to California collector Preston Harrision on July 26 that "the prices over there, especially for modern pictures are astounding." Nevertheless, Kraushaar believed that investing in modern art would yield benefits within the next five years, and he refused to be influenced by museums and critics outside of New York who were reluctant to agree. He exhibited a healthy disrespect for museum directors in general, whom he referred to in his letters to Harrision as "dead heads" who ought to be sent to different art centers of the world in order to "get in touch with what is going on there" (March 11, 1929).

Like most of its contemporaries, Kraushaar Galleries suffered considerably during the Depression of the 1930s and struggled to collect and, in turn, pay accounts due. On October 5, 1931, John Kraushaar confessed to H. S. Southam, "Business is very bad with us, and I know that you will treat it confidentially when I tell you that I have had to sacrifice a good part of my personal holdings to provide cash for my own business." By 1934 the rent on the galleries' current location at 680 Fifth Avenue, where Kraushaar had moved in 1919, was out of all proportion to the amount of business that was being generated. In 1936, a timely move to 730 Fifth Avenue allowed the family to effect substantial economies without a disproportionate loss of business.

During the 1930s, John Kraushaar's health began to fail, and he was frequently absent from the galleries. Consequently, Antoinette Kraushaar took on greater responsibility for the operation of the business with the assistance of her brother Charles. Although Antoinette was one of few women to hold such a prominent position in the art business at that time, there is no evidence in the records to suggest that artists or customers who had been accustomed to dealing with John Kraushaar had any difficulty accepting the transition in management from father to daughter.

Nevertheless, collecting accounts remained difficult, and although business had improved by 1938 it was now stymied by the threat of war in Europe. The warmth of relations between the Kraushaars and the artists they handled, and their colleagues, was crucial to Antoinette during these years. She repeatedly expressed her gratitude for their understanding and assistance in her letters as she struggled to meet financial obligations and operate the business in her father's absence, experimenting with different strategies as she evolved an approach that would sustain the business. In a letter to Gifford Beal dated August 6, 1941, she spoke of "hellish times" and stressed, "I have learned a great many things during the past few years and hope that we are groping our way towards a working solution of our own affairs at least."

While there is no question that Antoinette Kraushaar shared her father's genuine interest in contemporary American artists, the growing commitment to these artists that was forged during these years was driven in large part by necessity. By increasing her stock of American art and adding "younger painters of promise," she was able to sell work in a much broader price range. Consequently she could reach a wider audience and increase the likelihood that the business would remain solvent. This method of business also suited her personality far more than having a very specialized inventory of highly priced work, an approach that she confessed to J. Lionberger Davis on December 3, 1940, "requires a particular kind of temperament, and frankly I neither like it nor believe in it."

Throughout her career Antoinette imbued the business with her personal style. She understood that elitism alienated art buyers of moderate income, who constituted her bread and butter, and believed strongly that the gallery environment should not be intimidating to potential customers. She corresponded at length with old and new clients alike, patiently offering advice when asked and maintaining liberal policies for those who wished to borrow artwork on approval. She also participated in events that promoted efforts to make art available to a wider audience, such as a 1951 exhibition and seminar at the Florida Gulf Coast Art Center that addressed problems of buying and selling art. She was a two-time board member of the Art Dealers Association of America and considered the organization to be an important source of support for the gallery community.

In her dealings with other commercial galleries and art institutions, Antoinette Kraushaar exhibited a strong spirit of cooperation and enthusiasm, consistently lending art to small, locally owned businesses and community organizations as well as to more established galleries and world-class museums. She also developed long and mutually beneficial associations with the art departments of many educational institutions across the country, which proved to be fertile ground for young and upcoming artists.

Antoinette Kraushaar exhibited the same honesty and fairness in dealing with artists as her father had, expressing her opinions of their work in a forthright manner and maintaining a policy of always looking at the work of any artist who came to her. She understood the inherent difficulties of dealing with living artists but relished the excitement of encouraging their work and watching them develop. On November 14, 1947, in reply to a letter from the artist Bernard Arnest, in which Arnest apologized for burdening her with his worries, she reminded him, "One of the functions of a dealer is to act as a safety valve. Didn't you know?"

Although she would not retain artists indefinitely if she felt their work had deteriorated in quality, Antoinette often stressed that she was prepared to accept little or no initial financial return on the work of artists who showed promise or whose work held a particular appeal for her. In a letter of December 30, 1940, she reassured Walt Dehner that the lack of sales from his recent exhibition would not lead her to withdraw his work from the galleries. In typically unassuming style she advised Dehner to "go on painting whatever interests you. We have found that there is no recipe for success, either artistic or material."

In the early 1940s Antoinette Kraushaar implemented two changes to her inventory. Sensing that interest in sculpture was growing, she rearranged the space to give that medium more room and attention. The market for etchings had been declining since the late 1930s, and as she reduced this part of her inventory she also acted on her personal passion for drawings by opening a small gallery devoted to contemporary American drawings that were priced well within the range of most customers.

By the time Kraushaar Galleries moved to 32 East Fifty-seventh Street, late in 1944, American art had become the main focus of the business. While the long-standing interest in The Eight and other artists of that period continued, the galleries also handled contemporaries such as Louis Bouché, Samuel Brecher, John Heliker, Andrée Ruellan, and Karl Schrag. When John Kraushaar died in December 1946, Antoinette and Charles legally assumed control of the business. This partnership continued until 1950, when Antoinette assumed sole ownership of the gallery.

In 1955 the galleries moved uptown to smaller quarters at 1055 Madison Avenue, and Antoinette Kraushaar gave up the greater part of her print business. She was inundated with requests from artists to be allowed a chance to show her their work, and the galleries' exhibition schedule was always full. Contemporary artists she now represented included Bernard Arnest, Peggy Bacon, Russell Cowles, Kenneth Evett, William Dean Fausett, William Kienbusch, Joe Lasker, and George Rickey, and she continued to exhibit artwork by Charles Demuth, William Glackens, George Luks, Maurice Prendergast, Boardman Robinson, and John Sloan.

By the late 1950s the artists of the generation that her father had promoted in the early part of the century had died, but Antoinette Kraushaar had the pleasure of seeing his faith in them come to fruition. In a letter to Ralph Wilson dated October 20, 1958, she stated with satisfaction, "The Boston Museum is taking (at long last) a deep interest in (Maurice) Prendergast, and they will probably do an important show within the next year." Her correspondence with William Glackens's son Ira in the 1960s reveals the extent to which Glackens's popularity had grown since his death in 1938, and the market for John Sloan's work had been increasing steadily since the late 1920s. In 1962 James Penney summed up Kraushaar Galleries' success in the foreword of a catalog for an exhibition of paintings and sculpture the galleries had organized with the Munson-Williams-Proctor Institute at Hamilton College:

Missing Title

1854 -- Charles W. Kraushaar born

1871 -- John F. Kraushaar born

1885 -- Kraushaar Galleries established on Broadway near Thirty-first Street

1901 -- Galleries moved to 260 Fifth Avenue

1902 -- Antoinette Kraushaar born

1917 -- Charles W. Kraushaar died; John Kraushaar assumed control of the business, increasing inventory of modern American and European artists; first John Sloan exhibition

1919 -- Galleries moved to 680 Fifth Avenue

[1920] -- Antoinette Kraushaar began assisting with the business

1924 -- Maurice Prendergast died

1936 -- Galleries moved to the Heckscher Building at 730 Fifth Avenue

1938 -- William J. Glackens died

1944 -- Galleries moved to the Rolls Royce Building at 32 East Fifty-seventh Street; American art now the main focus of the business

1946 -- John Kraushaar died; Antoinette and Charles Kraushaar assumed control of the business

1948 -- Charles Prendergast died

1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries

1951 -- John Sloan died

1955 -- Galleries moved to 1055 Madison Avenue

1959 -- Carole Pesner joined Kraushaar Galleries

1964 -- Galleries extended into adjacent building

1981 -- Galleries moved to 724 Fifth Avenue

1986 -- Katherine Kaplan joined Kraushaar Galleries

1988 -- Antoinette Kraushaar retired from day-to-day management of the business

1992 -- Antoinette Kraushaar died

Appendix: List of Kraushaar Galleries Exhibitions:

The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.

Missing Title

Jan., 1912 -- Paintings by Gustave Courbet and Henri Fantin-Latour

Apr., 1912 -- Paintings by Frank Brangwyn and Henri Le Sidaner

Jan., 1913 -- Paintings by Ignacio Zuloaga

May, 1913 -- Etchings by Seymour Haden

June, 1913 -- Paintings and Lithographs by Henri Fantin-Latour

Oct., 1913 -- Etchings by Frank Brangwyn

Jan., 1914 -- Ignacio Zuloaga

Mar., 1914 -- Paintings by Alphonse Legros

Apr., 1914 -- George Luks

May, 1914 -- Seven Modern Masterpieces including Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Matthew Maris, and James McNeill Whistler

undated, 1915 -- Paintings by John Lavery

Jan.-Feb., 1917 -- James McNeill Whistler's White Girl

Feb.-Mar., 1917 -- Paintings by Augustus Vincent Tack

Mar.-Apr., 1917 -- Paintings and Etchings by John Sloan

Summer, 1917 -- Works by French artists including A. L. Bouche, Josef Israels, Gaston La Touche, and Alphonse Legros

Oct., 1917 -- Monoprints by Salvatore Antonio Guarino

Nov., 1917 -- Etchings and Mezzotints by Albany E. Howarth

Jan., 1918 -- Recent Paintings by John Lavery

Jan.-Feb., 1918 -- Paintings and Watercolors by George Luks

Feb.-Mar., 1918 -- Paintings by Augustus Vincent Tack

Mar., 1918 -- Paintings by John Sloan

Apr.-May, 1918 -- Paintings by A. L. Bouche

May, 1918 -- War Paintings by J. Mortimer Block, Charles S. Chapman, Guy Pène Du Bois, H. B. Fuller, George Luks, W. Ritschell, John Sloan, and Augustus Vincent Tack

Oct., 1918 -- Oil Paintings by William Scott Pyle

Nov., 1918 -- Paintings by Gustave Courbet, Henri Fantin-Latour, Alphonse Legros, Edouard Manet, Antoine Vollon, James McNeill Whistler, and Ignacio Zuloaga, and bronzes by Antoine Louis Bayre, Emile Antoine Bourdelle, and Mahonri Young

Apr., 1919 -- Paintings and Monoprints by Salvatore Anthonio Guarino

Jan.-Feb., 1919 -- Decorative Panels and Other Paintings by Augustus Vincent Tack

Mar., 1919 -- Paintings and Drawings by John Sloan

May, 1919 -- Paintings by George Luks, Monticelli, and A. P. Ryder

Sept., 1919 -- Work by Jean Louis Forain

Oct., 1919 -- Etchings and Lithographs by Alphonse Legros

Jan., 1920 -- Recent Paintings by George Luks

Feb., 1920 -- Recent Paintings by John Sloan

Feb., 1920 -- Paintings by William Scott Pyle

Mar., 1920 -- Recent Paintings by Gifford Beal

Apr., 1920 -- Recent Paintings by Augustus Vincent Tack

Apr., 1920 -- Paintings by Henri Le Sidaner

Apr., 1920 -- Paintings and Drawings by Jean Louis Forain

Apr.-May, 1920 -- Paintings and Drawings by Jerome Myers

May, 1920 -- Paintings by Henrietta M. Shore

Jan., 1921 -- Paintings by French and American Artists

Jan.-Feb., 1921 -- Paintings by George Luks

Feb., 1921 -- New Paintings by Augustus Vincent Tack

Apr., 1921 -- John Sloan Retrospective

Summer, 1921 -- French and American Artists

Oct., 1921 -- Paintings of Mountford Coolidge

Oct., 1921 -- Works by Henri Fantin-Latour and Henri Le Sidaner

Nov., 1921 -- Frank Van Vleet Tompkins

Dec., 1921 -- Paintings and Bronzes by Modern Masters of American and European Art

Jan., 1922 -- Exhibition of Recent Paintings and Watercolors by George Luks

Feb., 1922 -- Paintings by Augustus Vincent Tack

Mar., 1922 -- Paintings and Watercolors by Gifford Beal

Apr., 1922 -- Exhibition of Paintings by Guy Pène Du Bois

Summer, 1922 -- Paintings by Modern Masters of American and European Art

Oct., 1922 -- Recent Paintings of the Maine Coast by George Luks

Jan., 1923 -- Exhibition of Paintings by George Luks

Feb., 1923 -- Paintings and Decorative Panels by Augustus Vincent Tack

Mar., 1923 -- Landscapes by Will Shuster

Mar., 1923 -- Paintings by Samuel Halpert

Apr., 1923 -- Marine Figures and Landscapes by Gifford Beal

Apr.-May, 1923 -- Paintings by John Sloan

May, 1923 -- Paintings by Frank Van Vleet Tompkins

June, 1923 -- Etchings by Marius A. J. Bauer

Oct., 1923 -- American Watercolors by Gifford Beal, Reynolds Beal, George Luks, Maurice Prendergast, and William Zorach

Dec., 1923 -- Etchings and Lithographs by Alphonse Legros

Dec., 1923 -- Paintings, Drawings, and Pastels by Charles Adolphe Bischoff

Jan., 1924 -- Paintings by Celebrated American Artists

Mar., 1924 -- Paintings and Drawings by Guy Pène Du Bois

Apr., 1924 -- New Paintings by George Luks

May, 1924 -- Paintings by Marjorie Phillips

Summer, 1924 -- French and American Modern Artists

Oct., 1924 -- Painting, Watercolors, and Sculpture by William Zorach

Nov., 1924 -- Watercolors by Seven Americans

Dec., 1924 -- French Paintings

Jan., 1925 -- Paintings by John Sloan

Jan.-Feb., 1925 -- Maurice Prendergast Memorial Exhibition

Mar., 1925 -- Plans and Photographs of Work in Landscape Architecture by Charles Downing Lay

Apr., 1925 -- Paintings by William J. Glackens

Dec., 1925 -- Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Richard Lahey Jerome Myers, Maurice Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, and William Zorach

undated, 1926 -- Lower Broadway by W. Walcot

Feb., 1926 -- Paintings by Paul Burlin

Feb., 1926 -- Portraits of Duncan Phillips, Esq. Charles B. Rogers, Esq. & The Hon. Elihu Root Painted by Augustus Vincent Tack

Mar., 1926 -- Paintings, Watercolors, and Drawings by Gifford Beal

Apr., 1926 -- John Sloan

Sept.-Oct., 1926 -- Exhibition of Etchings by C. R. W. Nevinson

Oct., 1926 -- Drawings, Etchings, and Lithographs by Nineteenth-Century French Artists

Oct., 1926 -- Paintings and Drawings by Mathieu Verdilhan

Dec., 1926 -- Exhibition of Watercolors by Gifford Beal, Reynolds Beal, Carl Broemel, Guy Pène Du Bois, Ernest Fiene, Samuel Halpert, Henry Keller, Louis Kronberg, Richard Lahey, Charles Lay, Jerome Myers, Maurice Prendergast, Henry

Dec., 1926 -- Schnakenberg, A. Walkowitz, Martha Walters, William Zorach

Jan., 1927 -- French Drawings and Prints

Feb., 1927 -- Paintings, Drawings, Etchings, and Lithographs by John Sloan

Mar., 1927 -- Gifford Beal

Mar.-Apr., 1927 -- Decorative Panels and Watercolors by Margarett Sargent

Mar.-Apr., 1927 -- Exhibition of Drawings and Lithographs of New York by Adriaan Lubbers

Apr., 1927 -- Paintings and Etchings by Walter Pach

Apr.-May, 1927 -- Paintings and Watercolors by Leopold Survage

Apr.-May, 1927 -- Etchings and Woodcuts by D. Galanis

May, 1927 -- Paintings by Guy Pène Du Bois

Summer, 1927 -- Paintings by American Artists

Summer, 1927 -- Paintings, Watercolors, and Drawings by Georges Braque, Honoré Daumier, Edgar Degas, André Derain, Henri Fantin-Latour, Jean Louis Forain, Constantin Guys, Henri de Toulouse-Lautrec, Edouard Manet, Henri Matisse, Amedeo Modigliani, Claude Monet, Morissot, Pablo Picasso, Camille Pissarro, Odilon Redon, Segonzac, and Georges Seurat

Oct.-Nov., 1927 -- Exhibition of Etchings in Color by Bernard Boutet de Monvel

Nov., 1927 -- Exhibition of Paintings, Drawings, Lithographs, and Watercolors by Ernest Fiene

Dec., 1927 -- Watercolors by American Artists including Gifford Beal, Reynolds Beal, Carl Broemel, Charles Demuth, Guy Pène Du Bois, Ernest Fiene, Henry G. Keller, Richard Lahey, Charles Downing Lay, Howard Ashman Patterson, [Maurice] Prendergast, Henry E. Schnakenberg, Abraham Walkowitz, Frank Nelson Wilcox, and [William] Zorach

Dec., 1927 -- Paintings by Guy Pène Du Bois

Dec., 1927 -- Paintings, Sculpture, and Decorative Media by George Biddle

Jan.-Feb., 1928 -- Paintings by S. J. Peploe

Feb., 1928 -- Drawings by Henri Fantin-Latour

Feb., 1928 -- Pastels and Drawings by Margarett Sargent

Feb., 1928 -- Drawings for Balzac's Les Contes Drolatiques by Ralph Barton

Feb.-Mar., 1928 -- Sculpture by William Zorach

Mar., 1928 -- Recent Paintings by Marjorie Phillips

Mar.-Apr., 1928 -- Exhibition of Paintings by William Glackens

Apr., 1928 -- Paintings, Drawings and Lithographs by R. H. Sauter of London, England

Oct., 1928 -- Modern French Paintings, Watercolors and Drawings

Oct.-Nov., 1928 -- Paintings, Watercolors, Drawings, Etchings, and Lithographs by Richard Lahey

Nov., 1928 -- Exhibition of Paintings and Sculpture by J. D. Fergusson

Nov.-Dec., 1928 -- Paintings, Drawings and Etchings by Walter Pach

Dec., 1928 -- Paintings and Watercolors by Abraham Walkowitz

Jan., 1929 -- Exhibition of Paintings by Margarett Sargent

Jan., 1929 -- Watercolors by Rodin

Jan.-Feb., 1929 -- Exhibition of Sculpture by Arnold Geissbuhler

Feb., 1929 -- Paintings and Watercolors by Guy Pène Du Bois

Feb.-Mar., 1929 -- Paintings by Gifford Beal

Mar., 1929 -- Exhibition of Paintings by Adriaan Lubbers

Mar.-Apr., 1929 -- Exhibition of Etchings by Gifford Beal, Frank W. Benson, Childe Hassam, Kenneth Hayes Miller, and John Sloan

Apr., 1929 -- Exhibition of Paintings by Arnold Friedman

Apr., 1929 -- Sculpture by Harriette G. Miller

May, 1929 -- Paintings by Howard Ashman Patterson

May, 1929 -- Paintings by William Meyerowitz

Oct., 1929 -- Exhibition of Modern French Paintings, Watercolors and Drawings

Nov., 1929 -- Modern French and American Paintings, Watercolors, Prints, and Sculpture (at Gage Galleries in Cleveland)

Jan., 1930 -- Paintings by Paul Bartlett

Feb., 1930 -- Watercolors by Auguste Rodin

Feb.-Mar., 1930 -- Paintings by Guy Pène Du Bois

Summer, 1930 -- Paintings by American Artists

Oct., 1930 -- Paintings and Watercolors by Maurice Prendergast

Nov., 1930 -- Paintings by Ruth Jonas

Nov., 1930 -- Sculpture by Harriette G. Miller

Jan., 1931 -- Paintings and Watercolors by Richard Lahey

Jan.-Feb., 1931 -- Paintings by Erle Loran Johnson

Feb.-Mar., 1931 -- Paintings, Watercolors and Etchings by Gifford Beal

Mar., 1931 -- Paintings and Watercolors by Walter Pach

Mar.-Apr., 1931 -- Paintings, Drawings, and Etchings by Rudolf H. Sauter

May, 1931 -- Exhibition of Watercolors by John La Farge, Gifford Beal, H. E. Schnakenberg, Maurice Prendergast, Guy Pène Du Bois, Richard Lahey

Fall, 1931 -- Modern French Paintings, Watercolors, and Drawings

Dec., 1931 -- Exhibition of Drawings and Watercolors by D. Y. Cameron, Joseph Gray, Henry Rushbury, Muirhead Bone, Edmund Blampied, Gwen John

Dec., 1931 -- Lithographs and Posters by H. de Toulouse-Lautrec

Jan., 1932 -- Watercolors by Pierre Brissaud

Feb., 1932 -- Paintings and Drawings by A. S. Baylinson

Mar., 1932 -- Watercolors and Pastels by French and American Artists

Apr., 1932 -- Paintings by Nan Watson

May, 1932 -- Sculpture by Behn, Bourdelle, Geissbuhler, Lachaise, Maillol, Miller, Nadelman, Renoir, Young, Zorach; Decorative Panels by Max Kuehne, and Charles Prendergast

June-Aug., 1932 -- Paintings and Watercolors by American Artists

Oct.-Nov., 1932 -- Paintings, Watercolors, and Drawings by Various Artists

Jan., 1933 -- Paintings by Paul Bartlett

Jan.-Feb., 1933 -- Lithographs by Henri Fantin-Latour

Feb., 1933 -- Etchings of Dogs by Bert Cobb

Feb.-Mar., 1933 -- Paintings by American Artists

Feb.-Apr., 1933 -- Paintings by Contemporary Americans

Apr., 1933 -- Paintings by Maurice Prendergast

Oct., 1933 -- Exhibition of French Paintings, Watercolors, and Drawings

Oct.-Nov., 1933 -- Drawings by Emily W. Miles

Oct.-Nov., 1933 -- Exhibition of Etchings and Lithographs

Nov., 1933 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1933 -- Watercolors by Gifford Beal

Jan., 1934 -- Exhibition of Drawings by Denys Wortman for "Metropolitan Movies"

Summer, 1934 -- Paintings by Gifford Beal, Reynolds Beal, Isabel Bishop, Ann Brockman, Preston Dickinson, Guy Pène Du Bois, William J. Glackens, Richard Lahey, Ernest Lawson, George Luks, Harriette Miller, Maurice Prendergast, Henry E. Schnakenberg, and John Sloan

Oct.-Nov., 1934 -- Exhibition of Etchings and Lithographs

Nov.-Dec., 1934 -- Paintings by Gifford Beal

Mar., 1935 -- Complete Collection of Etchings by Mahonri Young

July-Aug., 1935 -- Paintings by American Artists including Gifford Beal, Reynolds Beal, Ann Brockman, Guy Pène Du Bois, William J. Glackens, Max Kuehne, Richard Lahey, Ernest Lawson, George Luks, Harriette G. Miller, Maurice Prendergast, Henry E. Schnakenberg, John Sloan, and Abraham Walkowitz

Oct.-Nov., 1935 -- Decorative Panels by Charles Prendergast

Nov., 1935 -- Exhibition of Paintings by H. E. Schnakenberg

Mar., 1936 -- Paintings by Louis Bouché

Apr., 1936 -- Paintings by Gifford Beal

Oct.-Nov., 1936 -- Loan Collection of French Paintings

Dec., 1936 -- Monotypes in Color by Maurice Prendergast

Jan., 1937 -- Recent Watercolors by H. E. Schnakenberg

Jan., 1937 -- Paintings of Flowers by William J. Glackens

Feb., 1937 -- Etchings by John Sloan

Feb., 1937 -- A Group of American Paintings

Sept., 1937 -- A Group of Paintings by Gifford Beal, Louis Bouché, Guy Pène Du Bois, William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, Theodore Robinson, John Sloan, J. Alden Weir

Oct.-Nov., 1937 -- Decorative Panels by Charles Prendergast

Dec., 1937 -- American Watercolors

Jan.-Feb., 1938 -- Paintings by Gifford Beal

Feb.-Mar., 1938 -- Drawings by William Glackens, Guy Pène Du Bois, John Sloan, Denys Wortman

Apr., 1938 -- Paintings by Louis Bouché

May, 1938 -- Paintings and Pastels by Randall Davey

Oct., 1938 -- Selected Paintings by Modern French and American Artists

Nov., 1938 -- Paintings by Guy Pène Du Bois from 1908 to 1938

Nov., 1938 -- Paintings and Sculpture by Harriette G. Miller

Dec., 1938 -- Watercolors by Prendergast, Keller, Demuth, Wilcox and Others

Jan., 1939 -- Paintings by H. H. Newton

Oct., 1939 -- French and American Paintings

Oct.-Nov., 1939 -- Drawings by William Glackens of Spanish-American War Scenes

Nov., 1939 -- Paintings and Watercolors by Russell Cowles

Jan.-Feb., 1940 -- Recent Paintings by Louis Bouché

Feb.-Mar., 1940 -- Paintings by Henry Schnakenberg

Mar.-Apr., 1940 -- Paintings by Maurice Prendergast

Apr.-May, 1940 -- Watercolors by Charles Kaeselau

May-June, 1940 -- A Group of Recent Paintings by Gifford Beal, Russell Cowles, John Koch, Henry Schnakenberg, Esther Williams, Louis Bouché, Guy Pène Du Bois, Harriette G. Miller, John Sloan, Edmund Yaghjian

Oct., 1940 -- Drawings by American Artists

Nov., 1940 -- Walt Dehner

Mar., 1941 -- John Koch

May-June, 1941 -- Watercolors and Small Paintings by Gifford Beal

Oct.-Nov., 1941 -- Recent Paintings by Russell Cowles

Nov.-Dec., 1941 -- Paintings and Watercolors by Henry E. Schnakenberg

Dec., 1941 -- Charles Prendergast

Jan., 1942 -- Paintings by Samuel Brecher

Jan.-Feb., 1942 -- Recent Paintings by Guy Pène Du Bois

Mar.-Apr., 1942 -- Recent Paintings by Louis Bouché

Mar.-Apr., 1942 -- Illustrations by Boardman Robinson Commissioned by the Limited Editions Club for Edgar Lee Masters' "Spoon River Anthology"

Dec., 1942 -- Paintings from the Period of the Last War

Feb., 1943 -- Paintings and Watercolors by William Dean Fausett

Mar., 1943 -- Paintings by John Hartell

May-July, 1943 -- Watercolors by Contemporary American Artists

Feb.-Mar., 1944 -- Samuel Brecher

Feb.-Mar., 1944 -- Paintings, Gouaches, and Drawings by Andrée Ruellan

Mar., 1944 -- Vaughn Flannery

Mar.-Apr., 1944 -- Recent Paintings by Russell Cowles

Apr.-May, 1944 -- Recent Paintings by Louis Bouché

May-June, 1944 -- Retrospective Exhibition of Paintings and Watercolors by Henry G. Keller

Oct., 1944 -- Esther Williams

Nov.-Dec., 1944 -- Paintings and Watercolors of France by Maurice Prendergast

Dec., 1944 -- William J. Glackens Sixth Memorial Exhibition

Dec., 1944 -- Kraushaar Galleries Sixtieth Anniversary Exhibition of Paintings by William J. Glackens, Ernest Lawson, George Luks, Maurice Prendergast, and John Sloan

Jan.-Feb., 1945 -- Paintings by Gifford Beal

Feb.-Mar., 1945 -- Paintings by Andrée Ruellan

Apr.-May, 1945 -- Charles Locke

May-June, 1945 -- William Dean Fausett

Oct., 1945 -- Paintings by John Hartell

Nov.-Dec., 1945 -- Recent Watercolors by Marion Monks Chase

Nov.-Dec., 1945 -- Gouaches by Cecil Bell

Dec., 1945 -- Memorial Exhibition of Paintings and Watercolors by Ann Brockman

undated, 1946 -- Russell Cowles

Jan.-Feb., 1946 -- Richard Lahey

Feb., 1946 -- John Koch

Feb.-Mar., 1946 -- Paintings by Ernst Halberstadt

Mar., 1946 -- Paintings of Mexico and Guatemala by Henry E. Schnakenberg

Mar., 1946 -- Iver Rose

Apr., 1946 -- Louis Bouché

Apr.-May, 1946 -- Russell Cowles

May-June, 1946 -- Paintings by Bernard Arnest, Charles Harsanyi, Irving Katzenstein, Anna Licht, James Penney, Etienne Ret, and Vernon Smith

Sept., 1946 -- Retrospective Exhibition of the Work of Boardman Robinson

Nov., 1946 -- Guy Pène Du Bois

Nov.-Dec., 1946 -- William J. Glackens Eighth Memorial Exhibition

Jan., 1947 -- Karl Schrag

Feb.-Mar., 1947 -- Sculpture by Robert Laurent

Feb.-Mar., 1947 -- Paintings by Iver Rose

Feb.-Mar., 1947 -- Recent Paintings by Vernon Smith

Apr., 1947 -- Charles Prendergast

Apr., 1947 -- Louis Bouché

Apr.-May, 1947 -- Esther Williams

Oct.-Nov., 1947 -- Anna Licht

Nov., 1947 -- William J. Glackens Ninth Memorial Exhibition, with Works by Lenna Glackens

Mar., 1948 -- Russell Cowles

Apr.-May, 1948 -- Bernard Arnest

Aug.-Sept., 1948 -- New York Paintings and Watercolors

Oct.-Nov., 1948 -- Kenneth Evett

Nov.-Dec., 1948 -- Watercolors and Pastels by Harriette G. Miller

Jan.-Feb., 1949 -- John Hartell

Sept.-Oct., 1949 -- Contemporary American Watercolors and Gouaches

Oct., 1949 -- Contemporary Paintings

Jan., 1950 -- Maurice Prendergast Retrospective of Oils and Watercolors

Jan.-Feb., 1950 -- James Penney

Feb.-Mar., 1950 -- Paintings by Karl Schrag

Mar.-Apr., 1950 -- Russell Cowles

Jan.-Feb., 1951 -- William Sommer

Feb., 1951 -- Prints and Drawings by Various Artists

Feb., 1951 -- Paintings by Louis Bouché

Mar., 1951 -- Kenneth Evett

Apr.-May, 1951 -- Paintings by Gallery Artists

May-July, 1951 -- Contemporary American Watercolors

July-Aug., 1951 -- Paintings on the Summer Theme

Sept.-Oct., 1951 -- Vaughn Flannery

Oct.-Nov., 1951 -- Recent Paintings by Gallery Artists

Nov., 1951 -- Paintings by John Koch

Nov.-Dec., 1951 -- Joe Lasker

Dec., 1951 -- Small Prints and Drawings

Jan., 1952 -- Recent Gouaches by William Kienbusch

Jan., 1952 -- John Sloan: Recent Etchings from 1944-1951, and Etchings and Drawings Selected from All Periods of His Career

Feb.-Mar., 1952 -- Andrée Ruellan

Mar.-Apr., 1952 -- Bernard Arnest

Apr.-May, 1952 -- Recent Sculpture by Robert Laurent

May, 1952 -- Recent Paintings by Contemporary American Artists

May-June, 1952 -- Watercolors by Joseph Barber, Edward Christiana, Walt Dehner, Sidney Eaton, Wray Manning, and Woldemar Neufeld

July-Aug., 1952 -- Color Prints (Woodcuts, Etchings, and Lithographs) by Eleanor Coen, Caroline Durieux, Max Kahn, Tom Lias, Woldemar Neufeld, James Penney, George Remaily, Ann Ryan, and Karl Schrag

Nov., 1952 -- Karl Schrag

Dec., 1952-Jan. 1953 -- Eight Oregon Artists

Jan., 1953 -- Charles Prendergast Memorial Exhibition

Jan.-Feb., 1953 -- John Hartell

May, 1953 -- John Heliker

June, 1953 -- Humbert Alberizio, Vaughn Flannery, William Kienbusch, George Rickey, Andrée Ruellan, and Karl Schrag

Sept., 1953 -- Works by Gifford Beal, Kenneth Evett, Tom Hardy, John Koch, and James Lechay

Sept.-Oct., 1953 -- Paintings by Glackens, Lawson, Prendergast, Sloan

Oct.-Nov., 1953 -- Paintings by E. Powis Jones

Oct.-Nov., 1953 -- Recent Works by John Koch

Nov., 1953 -- Kenneth Evett: Drawings from Greek Mythology

Nov.-Dec., 1953 -- Recent Metal Sculptures by Tom Hardy

Nov.-Dec., 1953 -- Pastels, Drawings and Prints by Peggy Bacon

Nov.-Dec., 1953 -- Recent Paintings by Ralph Dubin

Feb.-Mar., 1954 -- Russell Cowles

Mar.-Apr., 1954 -- James Penney

Nov.-Dec., 1954 -- Tom Hardy: Metal Sculptures

Jan., 1955 -- Mobiles, Machines, and Kinetic Sculpture by George Rickey

Jan.-Feb., 1955 -- James Lechay

Feb., 1955 -- Mobiles by George Rickey

Feb.-Mar., 1955 -- Drawings, Etchings, and Lithographs by John Sloan (with a selection of prints by artists whose work influenced him in his early years: Rembrandt, Hogarth, Goya, Rops, Daumier, Rowlandson and others, to mark the publication of John Sloan: A Painter's Life by Van Wyck Brooks)

Mar.-Apr., 1955 -- Jane Wasey

Apr., 1955 -- Recent Work by Joe Lasker

May-June, 1955 -- Sculpture and Drawings by Contemporary American Artists

Jan., 1956 -- Carl Morris

Jan.-Feb., 1956 -- John Laurent

Feb.-Mar., 1956 -- William Kienbusch

Mar., 1956 -- Andrée Ruellan

Mar.-Apr., 1956 -- Karl Schrag

Apr.-May, 1956 -- John Heliker

May, 1956 -- Monotypes by Maurice Prendergast

Oct., 1956 -- The Eight

Jan.-Feb., 1957 -- Paintings by John Hartell

Apr., 1957 -- James Penney

Apr.-May, 1957 -- John Heliker

May-June, 1957 -- Fourteen Painter-Printmakers (American Federation of Arts exhibition)

June-July, 1957 -- 20th Century American Artists

Nov., 1957 -- William Glackens and His Friends (based on the book by Ira Glackens)

Nov., 1957 -- Marguerite Zorach

Jan., 1958 -- Gouches, Drawings and Small Glyphs by Ulfert Wilke

Jan.-Feb., 1958 -- Tom Hardy

Feb.-Mar., 1958 -- John Koch

Feb.-Mar., 1958 -- Still Life Exhibition with Works by William J. Glackens and Maurice Prendergast

Feb.-Mar., 1958 -- Cecil Bell

Mar., 1958 -- Karl Schrag

Mar., 1958 -- Carl Morris

Mar.-Apr., 1958 -- Louis Bouché

Apr., 1958 -- Paintings and Drawings by Joe Lasker

Apr.-May, 1958 -- Paintings and Drawings by Walter Feldman

Apr.-May, 1958 -- Sculpture by Henry Mitchell

May-June, 1958 -- Works in Casein and Gouache by Bernard Arnest, William Kienbusch, Carl Morris, and Karl Schrag

July, 1958 -- Still Life Paintings and Watercolors by American Artists

Oct.-Nov., 1958 -- Kenneth Evett

Nov., 1958 -- Elsie Manville

Nov.-Dec., 1958 -- John Laurent

Jan., 1959 -- Kinetic Sculpture by George Rickey

Jan.-Feb., 1959 -- Bernard Arnest

Mar., 1959 -- Karl Schrag

Mar.-Apr., 1959 -- Paintings by Joe Lasker

Apr.-May, 1959 -- Henry Mitchell

Sept.-Oct., 1959 -- Robert Searle

Oct.-Nov., 1959 -- Russell Cowles

Nov., 1959 -- Caseins and Paintings by William Kienbusch

Dec., 1959 -- Paintings by Vaughn Flannery

Feb., 1960 -- James Lechay

Apr., 1960 -- Landscapes by John Sloan

Apr.-May, 1960 -- John Guerin

May-June, 1960 -- Drawings and Small Sculpture by Gallery Artists

Oct., 1960 -- Ainslie Burke

Oct.-Nov., 1960 -- Leon Goldin

Nov.-Dec., 1960 -- Ulfert Wilke

Jan., 1961 -- Leonard DeLonga

Jan., 1961 -- Kenneth Evett

Jan.-Feb., 1961 -- Walter Feldman

Feb.-Mar., 1961 -- Watercolors and Pastels by Early Twentieth-Century American Artists

Mar., 1961 -- Paintings by Ralph Dubin

Mar.-Apr., 1961 -- James Penney

Apr.-May, 1961 -- John Koch

June, 1961 -- Works by Humbert Albrizio, Bernard Arnest, Cecil Bell, Louis Bouché, Ralph Dubin, Kenneth Evett, Walter Feldman, John Hartell, John Heliker, William Kienbusch, John Koch, Robert Laurent, James Lechay, Elsie Manville, Henry Mitchell, James Penney, George Rickey, Andrée Ruellan, Henry E. Schnakenberg, Karl Schrag, Jane Wasey, and Marguerite Zorach

Sept., 1961 -- Works by Contemporary Americans

Oct., 1961 -- George Rickey: Kinetic Sculpture

Oct.-Nov., 1961 -- Carl Morris

Nov.-Dec., 1961 -- Peggy Bacon

Dec., 1961 -- Selected Works by Twentieth-Century Americans

Jan., 1962 -- Polymer Resin and Sumi Ink Paintings by Kenneth Evett

Jan.-Feb., 1962 -- Louis Bouché

Feb.-Mar., 1962 -- Karl Schrag

Mar., 1962 -- Marguerite Zorach

Apr., 1962 -- John Laurent

Apr.-May, 1962 -- Sculpture by Tom Hardy

May-June, 1962 -- Drawings by Contemporary American Artists

July-Aug., 1962 -- Group Exhibitions - Paintings, Drawings and Sculpture by 20th Century American Artists

Oct., 1962 -- Bernard Arnest

Feb., 1963 -- William Kienbusch

Feb.-Mar., 1963 -- John Guerin

Mar., 1963 -- John Hartell

Sept.-Oct., 1963 -- Andrée Ruellan

Oct.-Nov., 1963 -- Ainslie Burke

Nov., 1963 -- Walter Feldman

Dec., 1963 -- Drawings by John Koch

Dec., 1963 -- Paintings by Contemporary Americans

Jan., 1964 -- Leonard DeLonga

Jan.-Feb., 1964 -- Joe Lasker

Feb.-Mar., 1964 -- Leon Goldin

Mar., 1964 -- Paintings by Ralph Dubin

Apr., 1964 -- Carl Morris

Apr.-May, 1964 -- Paintings and Drawings by John Heliker

Oct.-Nov., 1964 -- Louis Bouché

Nov.-Dec., 1964 -- Karl Schrag

Dec., 1964 -- Kenneth Evett

Feb., 1965 -- Russell Cowles

Feb.-Mar., 1965 -- James Lechay

Mar.-Apr., 1965 -- James Penney

Apr.-May, 1965 -- Gifford Beal

Feb., 1966 -- Dennis Leon

Feb.-Mar., 1966 -- Henry Schnakenberg

Mar.-Apr., 1966 -- John Hartell

Apr., 1966 -- Elsie Manville

Oct., 1966 -- Contrasts - Early and Late Works by Selected Contemporaries

Oct.-Nov., 1966 -- Tom Hardy

Nov.-Dec., 1966 -- Francis Chapin

Dec., 1966-Jan., 1967 -- Karl Schrag: Etchings and Lithographs

Jan.-Feb., 1967 -- Leonard DeLonga

Feb.-Mar., 1967 -- Carl Morris

Mar.-Apr., 1967 -- Ainslie Burke

Apr.-May, 1967 -- John Heliker: Paintings, Drawings, and Watercolors

May-June, 1967 -- William Glackens

Oct., 1967 -- Kenneth Callahan

Oct.-Nov., 1967 -- John Laurent

Jan.-Feb., 1968 -- Dennis Leon

Feb.-Mar., 1968 -- Robert La Hotan

Apr., 1968 -- John Guerin

Apr.-May, 1968 -- Leon Goldin

Sept.-Oct., 1968 -- Contemporary Sculpture and Drawings

Oct.-Nov., 1968 -- Karl Schrag

Nov.-Dec., 1968 -- James Lechay: Portraits and Landscapes

Dec., 1968-Jan., 1969 -- Group Exhibition

Jan., 1969 -- Elsie Manville

Mar., 1969 -- Kenneth Evett

Apr.-May, 1969 -- James Penney

Sept.-Oct., 1969 -- New Works by Contemporary Artists

Oct.-Nov., 1969 -- John Hartell: Exhibition

Nov., 1969 -- Peggy Bacon

Dec., 1969 -- Selected Examples by American Artists 1900-1930

Jan., 1970 -- Leonard DeLonga

Feb., 1970 -- Joe Lasker

Mar., 1970 -- Group Exhibition

Mar.-Apr., 1970 -- Dennis Leon

Apr.-May, 1970 -- Jerome Myers

Oct.-Nov., 1970 -- Tom Hardy

Jan.-Feb., 1971 -- Jane Wasey

Mar.-Apr., 1971 -- Kenneth Callahan

Oct., 1971 -- Ainslie Burke

Nov.-Dec., 1971 -- Karl Schrag

Feb.-Mar., 1972 -- John Koch

Mar.-Apr., 1972 -- Robert La Hotan

Apr.-May, 1972 -- Leon Goldin

May-June, 1972 -- Selected Works by 20th Century Americans

Sept.-Oct., 1972 -- Gallery Collection: American Watercolors and Drawings

Oct.-Nov., 1972 -- John Hartell

Nov.-Dec., 1972 -- Peggy Bacon

Dec., 1972 -- 20th Century Americans

Jan., 1973 -- Leonard DeLonga

Feb., 1973 -- Carl Morris

Mar., 1973 -- James Lechay

Mar.-Apr., 1973 -- Russell Cowles: Landscape Paintings

Apr.-May, 1973 -- Jerome Witkin

May-June, 1973 -- Kenneth Evett: Watercolors

Oct.-Nov., 1973 -- Kenneth Callahan

Jan., 1974 -- Joe Lasker

Jan.-Feb., 1974 -- Bernard Arnest

Feb.-Mar., 1974 -- Concetta Scaravaglione

Oct., 1974 -- Ainslie Burke

Oct.-Nov., 1974 -- James Penney

Jan., 1975 -- Tom Hardy

Jan.-Feb., 1975 -- Karl Schrag

Feb.-Mar., 1975 -- Robert La Hotan

Mar.-Apr., 1975 -- William Kienbusch

Apr., 1975 -- Elsie Manville

Apr.-May, 1975 -- Gifford Beal

Oct.-Nov., 1975 -- John Hartell

Nov., 1975 -- Daniel O'Sullivan

Mar., 1976 -- Jerome Witkin

May, 1976 -- Linda Sokolowski

Sept.-Oct., 1976 -- Joe Lasker, Illustrations from Merry Ever After

Oct., 1976 -- Leonard DeLonga

Nov.-Dec., 1976 -- Kenneth Callahan

Jan., 1977 -- James Lechay

Mar., 1977 -- Karl Schrag

Mar.-Apr., 1977 -- David Cantine

Oct.-Nov., 1977 -- John Hartell

Nov.-Dec., 1977 -- Ainslie Burke

Feb., 1978 -- Robert La Hotan

Apr., 1978 -- Elsie Manville

Oct., 1978 -- Tom Hardy

Oct.-Nov., 1978 -- Jerome Witkin

Jan.-Feb., 1979 -- Joe Lasker

Feb., 1979 -- Kenneth Evett

Feb.-Mar., 1979 -- Karl Schrag

Mar.-Apr., 1979 -- Carl Morris

Apr.-May, 1979 -- Linda Sokolowski

Oct.-Nov., 1979 -- Daniel O'Sullivan

Feb.-Mar., 1980 -- Kenneth Callahan

Mar., 1980 -- Ainslie Burke

Oct., 1980 -- John Hartell

Jan., 1981 -- Leonard DeLonga

Feb., 1981 -- James Lechay

Feb.-Mar., 1981 -- Robert La Hotan

Mar.-Apr., 1981 -- Jerry Atkins

Apr.-May, 1981 -- Ben Frank Moss

Jan.-Feb., 1982 -- Jerome Witkin

Feb.-Mar., 1982 -- Elsie Manville

Mar.-Apr., 1982 -- Karl Schrag

Apr.-May, 1982 -- Linda Sokolowski

May-June, 1982 -- David Cantine

Sept.-Oct., 1982 -- Kenneth Callahan

Oct.-Nov., 1982 -- Joe Lasker

Nov.-Dec., 1982 -- Daniel O'Sullivan

Jan.-Feb., 1983 -- William Kienbusch: Memorial Exhibition

Feb.-Mar., 1983 -- Jerry Atkins

Mar.-Apr., 1983 -- John Hartell

Apr.-May, 1983 -- John Heliker

May-June, 1983 -- Kenneth Evett

Oct., 1983 -- Concetta Scaravaglione

Oct.-Nov., 1983 -- Ben Frank Moss

Nov.-Dec., 1983 -- Russell Cowles

Dec., 1983-Jan., 1984 -- 20th Century Americans

Jan.-Feb., 1984 -- Marguerite Zorach: Paintings at Home and Abroad

Feb.-Mar., 1984 -- Robert La Hotan

Mar., 1984 -- David Smalley

Apr., 1984 -- Carl Morris

May, 1984 -- Karl Schrag

July, 1984 -- Drawings by 20th Century Americans

July-Aug., 1984 -- Collages and Drawings by Joseph Heil

Aug.-Sept., 1984 -- Drawings and Prints by Tom Hardy

Sept.-Oct., 1984 -- James Penney: Memorial Exhibition

Oct.-Nov., 1984 -- Paintings and Drawings by Leon Goldin

Nov.-Dec., 1984 -- Isabelle Siegel

Dec., 1984-Jan., 1985 -- Group Exhibition: Contemporary American Paintings and Sculpture

Jan.-Feb., 1985 -- James Lechay

Feb.-Mar., 1985 -- Ainslie Burke

Mar., 1985 -- Karen Breunig

Apr., 1985 -- Kenneth Callahan

Oct., 1985 -- Elsie Manville

Oct.-Nov., 1985 -- William Glackens

Jan.-Feb., 1986 -- Linda Sokolowski

Feb.-Mar., 1986 -- Jerry Atkins

Apr.-May, 1986 -- Jane Wasey

Oct.-Nov., 1986 -- John Hartell

Nov.-Dec., 1986 -- Karl Schrag

Feb.-Mar., 1987 -- Kenneth Evett

Apr.-May, 1987 -- Ben Frank Moss

May-June, 1987 -- David Smalley

Oct.-Nov., 1987 -- Isabelle Siegel

Feb.-Mar., 1988 -- Karen Breunig

Mar.-Apr., 1988 -- Leon Goldin

Sept.-Oct., 1988 -- Elsie Manville

Oct.-Nov., 1988 -- James Lechay

Jan.-Feb., 1989 -- Karl Schrag

Feb.-Mar., 1989 -- Linda Sokolowski

Jan.-Feb., 1990 -- Kenneth Callahan: Works of the Fifties

Jan.-Feb., 1990 -- Gifford Beal: Watercolors

Mar., 1990 -- Robert La Hotan: Recent Paintings

Mar.-Apr., 1990 -- Sonia Gechtoff: New Paintings

May-June, 1990 -- David Smalley: Recent Sculpture

May-June, 1990 -- Andrée Ruellan: Sixty Years of Drawing...

Oct., 1990 -- Isabelle Siegel

Nov., 1990 -- Leon Goldin

Jan.-Feb., 1991 -- Karl Schrag

Feb.-Mar., 1991 -- Joe Lasker

Apr., 1991 -- Ainslie Burke

Nov.-Dec., 1991 -- Linda Sokolowski: Oils, Collages, Monotypes

Dec., 1991-Jan., 1992 -- Elsie Manville: Small Works on Paper

Mar., 1992 -- Tabitha Vevers

May-June, 1992 -- Sonia Gechtoff

Oct.-Nov., 1992 -- James Lechay

Nov.-Dec., 1992 -- Karl Schrag

Mar., 1993 -- Leon Goldin: Works on Paper

Apr.-May, 1993 -- Robert La Hotan

Oct., 1993 -- David Smalley: Sculpture Inside and Out

Oct., 1993 -- Andrée Ruellan: Works on Paper 1920-1980

Mar.-Apr., 1994 -- Kenneth Evett: Travels: Themes and Variations (Watercolors of Italy, Greece, Arizona, Maine and California)

Mar.-Apr., 1994 -- Tabitha Vevers

Oct.-Nov., 1994 -- Linda Sokolowski

Nov.-Dec., 1994 -- Karl Schrag

Jan.-Feb., 1995 -- Langdon Quin

Mar.-Apr., 1995 -- Robert La Hotan

Sept.-Oct., 1995 -- Sonia Gechtoff

Jan.-Feb., 1996 -- Elsie Manville: Paintings and Works on Paper

Oct.-Nov., 1996 -- Karl Schrag: A Self Portrait Retrospective, 1940-1995

Jan.-Feb., 1997 -- Joe Lasker: Paintings and Watercolors

Mar.-Apr., 1997 -- Tabitha Vevers

Oct.-Nov., 1997 -- James Lechay

Feb.-Mar., 1998 -- Linda Sokolowski: Canyon Suite: Works from the Southwest

Mar.-Apr., 1998 -- Leon Goldin: Paintings on Paper

Sept.-Oct., 1998 -- Sonia Gechtoff: Mysteries in the Sphere

Oct.-Nov., 1998 -- Langdon Quin: Recent Paintings

Nov.-Dec., 1998 -- John Gill

Jan.-Feb., 1999 -- Robert La Hotan

Feb.-Mar., 1999 -- Ann Sperry: Where Is Your Heart

Nov.-Dec., 1999 -- Kathryn Wall

Jan.-Feb., 2000 -- Elsie Manville

Sept.-Oct., 2000 -- Joe Lasker

Oct.-Nov., 2000 -- James Lechay

Oct.-Nov., 2000 -- Tabitha Vevers

May-June, 2001 -- Kenneth Callahan: Drawings

Dec., 2001-Jan., 2002 -- Sur La Table: A Selection of Paintings and Works on Paper

Jan.-Feb., 2002 -- Karl Schrag: Theme and Variations II: The Meadow

undated, 2003 -- Ann Sperry

Jan.-Feb., 2003 -- Andrée Ruellan: Works on Paper from the 1920s and 1930s

Oct.-Nov., 2003 -- Joe Lasker: Muses and Amusements

Nov.-Dec., 2003 -- Tabitha Vevers

Mar.-Apr., 2004 -- Leon Goldin: Five Decades of Works on Paper

May-July, 2004 -- Anne Frank: A Private Photo Album

Jan.-Feb., 2005 -- John Gill: Ceramics

Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights

Related Material:

An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.

Separated Material:

In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.

Provenance:

53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009 and an additional 8.4 linear feet in 2012-2017 and 6.0 linear feet in 2022.

Restrictions:

This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. A fragile original scrapbook is restricted. Contact Reference Services for more information.

Rights:

Authorization to publish, quote or reproduce requires written permission from Katherine Kaplan Degn, Kraushaar Galleries. Contact Reference Services for more information.

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

Topic:

Works of art  Search this

Art, American  Search this

Artists -- United States  Search this

Depressions -- 1929  Search this

Function:

Art galleries, Commercial -- New York (State)

Genre/Form:

Photographs

Sketches

Drawings

Exhibition catalogs

Financial records

Notes

Sketchbooks

Citation:

Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Foundation and the Smithsonian Institution Collections Care Fund.

Identifier:

AAA.kraugall

See more items in:

Kraushaar Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9507d7d92-d503-4ed4-9ed6-12975adb8473

EDAN-URL:

ead_collection:sova-aaa-kraugall

Creator:

Bunce, Louis, 1907-1983  Search this

Names:

Fountain Gallery of Art  Search this

KOIN-TV (Television station : Portland, Or.)  Search this

Metropolitan Arts Commission (Portland, Or.)  Search this

Oregon Historical Society  Search this

Portland Center for the Visual Arts  Search this

Portland Museum School -- Faculty  Search this

Bunce, Edna  Search this

Bunce, Gloria  Search this

Griffin, Rachael  Search this

Hammack, John  Search this

Judd, Sally  Search this

Pollock, Jackson, 1912-1956  Search this

Russell, Pee Wee  Search this

Weber, Max, 1881-1961  Search this

Wells, Wendy  Search this

Extent:

9.1 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Sound recordings

Sketches

Photographs

Sketchbooks

Video recordings

Transcripts

Scrapbooks

Date:

1890s-1983

Summary:

The papers of Portland, Oregon painter, printmaker, and educator Louis Bunce (1907-1983) measure 9.1 linear feet and date from the 1890s to 1983. Found are biographical materials, correspondence, writings and notes, interviews and interview transcripts, organizational records, personal business records, printed materials, nine scrapbooks, eighteen sketchbooks, artwork, and photographs. A few audiovisual recordings are scattered throughout series.

Scope and Contents:

The papers of Portland, Oregon painter, printmaker, and educator Louis Bunce (1907-1983) measure 9.1 linear feet and date from the 1890s to 1983. Found are biographical materials, correspondence, writings and notes, interviews and interview transcripts, organizational records, personal business records, printed materials, nine scrapbooks, eighteen sketchbooks, artwork, and photographs. A few audiovisual recordings are scattered throughout series.

Biographical materials include address and appointment books, awards, life documents, resumes, and Bunce family genealogical records. There is a video recording of Bunce's retirement party from the Portland Museum School and of Bunce hanging his artwork for a show at the Fountain Gallery.

Bunce's correspondence is with his wives, Eda and Gloria, family, friends, fellow artists, and galleries and institutions. Notable correspondents include Jackson Pollock, Pee Wee Russell, and Max Weber. Writings and notes by Bunce include a notebook containing sales information, lists of works of art, sketches, and artist's statements. There are also autobiographical sketches and a video recording of a 1961 television show hosted by Bunce entitled "The Jazz Arts" depicting Bunce painting while jazz musicians perform. There are a few writings about Bunce by others.

There are two recorded interviews and three transcripts of interviews with Bunce conducted by Rachel Griffin, Wendy Wells of the Fountain Gallery, the Oregon Historical Society, KOIN TV, and an art student.

Organizational records document Louis Bunce's association with the Portland Center for the Visual Arts and the Portland Building Public Art Selection Committee of the Metropolitan Arts Commission. Personal business records include agreements and contracts, including an agreement with Sally Judd to form a gallery, consignment records, income and sales records, price lists and inventories (see also series 3 for a notebook containing lists of artwork and sales information), and personal legal documents. Printed materials consist of bulletins, clippings, and exhibition catalogs and announcements. There is also a video recording of a broadcast of KGW-TV depicting Bunce painting an outdoor mural.

Nine mixed media scrapbooks contain sketches, notes, printed material, photographs, correspondence, project proposals, writings, notes, addresses, receipts and sales records. Many of the scrapbooks contain artwork drawn directly onto the paper while some have artwork pasted into the pages. Eighteen sketchbooks of Bunce depict abstract drawings, figures, portraits, landscapes, and street scenes in pencil, pen and watercolor. Also found is a Valentine's Day-themed flipbook by Bunce and unidentified sketches likely by John Hammack and others.

Photographs are of Bunce, Bunce's family, Bunce at events, Bunce with his art, and Bunce at work in his studio. Also found are photographs of travel, stills of footage used on KOIN-TV, works of art, and exhibitions.

Arrangement:

The collection is arranged as 11 series.

Missing Title

Series 1: Biographical Material, 1902-1983 (Box 1, 13; 0.7 linear feet)

Series 2: Correspondence, circa 1916-1983 (Box 1-3; 1.7 linear feet)

Series 3: Writings and Notes, 1940-1970s (Box 3; 0.2 linear feet)

Series 4: Interviews and Interview Transcripts, 1955-1982 (Box 3; 0.2 linear feet)

Series 5: Organizational Records, 1970s-1983 (Box 3; 0.1 linear feet)

Series 6: Personal Business Records, 1948-1983 (Box 3-4; 0.8 linear feet)

Series 7: Printed Material, 1930s-1980s (Box 4-6, 13; 1.7 linear feet)

Series 8: Scrapbooks, 1941-1982 (Box 6, 9-10; 1.0 linear feet)

Series 9: Sketchbooks, 1940-1960s (Box 6-7, 11; 1.2 linear feet)

Series 10: Artwork, circa 1944-1979 (Box 7, 13-15; 0.6 linear feet)

Series 11: Photographs, 1890s-1981 (Box 7-8, 12; 0.9 linear feet)

Biographical / Historical:

Louis Bunce (1907-1983) was a painter, printmaker, and educator active in Portland, Oregon. His modernist style influenced many artists in the Pacific Northwest.

Born in Wyoming in 1907, Bunce began his art education at the Museum Art School in Portland Oregon in 1925. After two years, he moved to New York City to study at the Art Students League. During the great Depression, Bunce returned to Oregon and worked for the federal WPA Section of Painting and Sculpture. He painted murals for post offices in Portland (St. Johns neighborhood), and Grants Pass. Bunce moved back to New York in 1940, where he continued working as a WPA mural and easel painter, and befriended fellow artists Jackson Pollock, Willem de Kooning, Robert Motherwell, Franz Kline, and other American modernists.

A prominent member of the arts scene of Portland, Bunce taught at the Museum Art School (now the Pacific Northwest College of Art) from 1946 until 1972. In 1949, he and his wife Gloria opened the Kharouba Gallery, the first art gallery in Portland to show modernist, avant-garde, and experimental art. In 1958, Bunce's abstract mural for the Portland International Airport created some controversy over its modernist style. The mural can still be seen in the airport.

Bunce married twice, to Eda Hult and Gloria Scott. With Eda, he had a son, Jon Bunce. Louis Bunce died in Portland, Oregon in 1983 from an aneurysm.

Related Materials:

Also in the Archives of American Art are two oral history interviews with Bunce, one conducted on October 29, 1965 by Dorothy Bestor and a second conducted on December 3-13, 1982 by Rachel Rosenfield, for the Archives of American Art's Northwest Oral History Project

Provenance:

The Louis Bunce papers were donated by the artist's son, Jon Bunce in 1984.

Restrictions:

Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advanced notice.

Rights:

The Jazz Arts video: Authorization to publish, quote or reproduce requires written permission from KGW-TV, Portland Oregon. Interview of Wendy Wells of the Fountain Gallery: Authorization to publish, quote or reproduce requires written permission from Rogers Cablesystems of Portland, Oregon. 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:

Painters -- Oregon -- Portland  Search this

Printmakers -- Oregon  Search this

Educators -- Oregon  Search this

Topic:

Artists' studios -- Photographs  Search this

Genre/Form:

Interviews

Sound recordings

Sketches

Photographs

Sketchbooks

Video recordings

Transcripts

Scrapbooks

Citation:

Louis Bunce papers, 1890s-1983. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund

Identifier:

AAA.buncloui

See more items in:

Louis Bunce papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9af8707ae-cab7-4026-9c4f-25855d848b77

EDAN-URL:

ead_collection:sova-aaa-buncloui

Interviewee:

Robbins, Tom  Search this

Interviewer:

Kingsbury, Martha, 1941-  Search this

Names:

Kendrick, William Philip  Search this

Newman, Barnett, 1905-1970  Search this

Pollock, Jackson, 1912-1956  Search this

Extent:

47 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1984 March 3

Scope and Contents:

An interview of Tom Robbins conducted 1984 March 3, in La Conner, Wash., by Martha Kingsbury, for the Archives of American Art's Northwest Oral History Project.

Robbins speaks of his youth; the importance of his first trips to New York; meeting Barnett Newman and William Philip Kendrick; the influence of Oriental art; his drug experience; his research on Jackson Pollock; coming to Washington State and working as an art critic; the impact of the 1962 World's Fair on art; and style versus content in art.

Biographical / Historical:

Tom Robbins (1936- ) is a writer and critic from LaConner, Wash.

General:

Originally recorded on 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 28 min.

Provenance:

This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Art critics -- Washington (State) -- Interviews  Search this

Topic:

Art criticism  Search this

Art, Modern -- Northwestern States  Search this

Art, American -- Northwestern States  Search this

Authors -- Washington (State) -- Interviews  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.robbin84

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ed46c84e-57c7-47bf-a4d8-5a9ca62a3383

EDAN-URL:

ead_collection:sova-aaa-robbin84

Interviewee:

Tomkins, Margaret, 1916-2002  Search this

Interviewer:

Guenther, Bruce  Search this

Subject:

FitzGerald, James  Search this

Artists Gallery (Seattle, Wash.)  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Margaret Tomkins, 1984 June 6. Archives of American Art, Smithsonian Institution.

Topic:

Abstract expressionism  Search this

Artists -- Northwestern States -- Interviews  Search this

Art, Modern -- Northwestern States  Search this

Women artists  Search this

Women painters  Search this

Record number:

(DSI-AAA_CollID)12308

(DSI-AAA_SIRISBib)212455

AAA_collcode_tomkin84

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_212455

Collection Creator:

André Emmerich Gallery  Search this

Container:

Box 60, Folder 46

Type:

Archival materials

Date:

1976-1980

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Access of diaries and appointment books required written permission.

Collection Rights:

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

Collection Citation:

André Emmerich Gallery records and André Emmerich papers, circa 1929-2009. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Leon Levy Foundation.

See more items in:

André Emmerich Gallery Records and André Emmerich Papers

André Emmerich Gallery Records and André Emmerich Papers / Series 6: Artists Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9fdc3e51b-5ab5-4ca8-9fe4-8d73d56efb0a

EDAN-URL:

ead_component:sova-aaa-andremmg-ref3006

Painter:

Miller, Alfred Jacob 1810-1874  Search this

Subject:

Andre, John  Search this

Culture:

British  Search this

Type:

Paintings

Owner/Location:

Unlocated

Topic:

History--United States--Revolution  Search this

Portrait male  Search this

Occupation--Military--Major  Search this

Ethnic  Search this

State of Being--Other--Imprisonment  Search this

Control number:

IAP 8B550033

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_412718

Painter:

Miller, Alfred Jacob 1810-1874  Search this

Medium:

Watercolor on paper

Type:

Paintings

Topic:

Figure group--Female & Child  Search this

State of Being--Other--Imprisonment  Search this

Control number:

IAP 8B551183

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_415949

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2013-11-22T05:15:00.000Z

YouTube Category:

Education  Search this

Topic:

Art, American  Search this

See more by:

americanartmuseum

Data Source:

Smithsonian American Art Museum

YouTube Channel:

americanartmuseum

EDAN-URL:

edanmdm:yt_D_pm7HxNOEU

Artist:

Agate, Alfred T., 1812-1846  Search this

Names:

United States Exploring Expedition (1838-1842)  Search this

Extent:

5 Drawings (visual works)

2 Engravings

Type:

Collection descriptions

Archival materials

Drawings (visual works)

Engravings

Drawings

Portraits

Works of art

Place:

Oceania

South America

Date:

1838-1842

Scope and Contents:

The collection consists of five (5) watercolor drawings and two (2) engravings made by Alfred T. Agate for the United States Exploring Expedition. It includes portraits of King Kamehameha III of Hawaii, Kotowatowa (a Maori chief), and unnamed individuals from Brazil, Peru, Fiji, as well as illustrations of Maori ornamental carvings.

Please note that the contents of the collection and the language and terminology used reflect the context and culture of the time of its creation. As an historical document, its contents may be at odds with contemporary views and terminology and considered offensive today. The information within this collection does not reflect the views of the Smithsonian Institution or National Anthropological Archives, but is available in its original form to facilitate research.

Biographical Note:

Alfred Thomas Agate was an artist, painter, and miniaturist, known for his landscapes, portraits and scientific illustrations. Agate was born February 14, 1812 in Sparta, N.Y. In 1838, he joined the Scientific Corps of the United States Exploring Expedition as a portraitist and botanical artist. He spent four years traveling around the world, mapping the coast of Oregon, documenting hundreds of islands in the Pacific, and collecting more than sixty thousand plant and bird specimens. In 1842, Agate settled in Washington, D.C., and prepared his drawings for the expedition's multi-volume report. He died January 5, 1846.

Variant Title:

Natives of Oceania, and ornamental architecture, signed "A. T. Agate, del., A. T. A., del.

Local Numbers:

NAA MS 382524

USNM Accession 16909

Related Materials:

The National Anthropological Archives holds additional Agate drawings from the United States Exploring Expedition in The Division of Ethnology photograph collection (Photo Lot 97).

The Naval History and Heritage Command Archives holds the Alfred Agate collection.

Provenance:

Gift of Mr. M. C. Hopkins to United States National Museum, May 7, 1942. The collection was transferred from the object collections of the Department of Anthropology to the National Anthropological Archives in July 1969.

Restrictions:

The collection is open for research.

Access to the collection requires an appointment.

Rights:

Contact the repository for terms of use.

Genre/Form:

Drawings

Portraits

Engravings

Works of art

Citation:

Alfred T. Agate drawings from the United States Exploring Expedition (MS 382524), National Anthropological Archives, Smithsonian Institution

Identifier:

NAA.MS382524

See more items in:

Alfred T. Agate drawings from the United States Exploring Expedition

Archival Repository:

National Anthropological Archives

GUID:

https://n2t.net/ark:/65665/nw36d243d1f-59f9-4200-acda-7e2f8272baa5

EDAN-URL:

ead_collection:sova-naa-ms382524

Former owner:

Platt, John, M/M  Search this

Landscape architect:

Painter, Richard  Search this

Architect:

Bulluschi, Pietro  Search this

Provenance:

The Portland Garden Club  Search this

Collection Creator:

Garden Club of America  Search this

Type:

Archival materials

Place:

The Jane K. Platt Garden (Portland, Oregon)

United States of America -- Oregon -- Multnomah County -- Portland

Scope and Contents:

The folder includes site plans and work sheet.

General:

The house was built on the site of an old apple orchard. "There are two and a half acres of sweeping lawns surrounded by beds containing many rare plants, trees and shrubs...The garden is primarily Ms. Platt's design. Emphasis is on a succession of bloom and color throughout the year. Alpines from all over the world are included." (The Garden Club of America Annual Dinner Medal Award Program, 1984)

Persons associated with the property include: Pietro Bulluschi (architect, 1938); Richard Painter (landscape designer, 1958-1962).

Related Materials:

The Jane K. Platt Garden related holdings consist of 1 folder (10 35 mm. slides)

Collection Restrictions:

Access to original archival materials by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Collection Rights:

Archives of American Gardens encourages the use of its archival materials for non-commercial, educational and personal use under the fair use provision of U.S. copyright law. Use or copyright restrictions may exist. It is incumbent upon the researcher to ascertain copyright status and assume responsibility for usage. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.

Topic:

Gardens -- Oregon -- Portland  Search this

Collection Citation:

Smithsonian Institution, Archives of American Gardens, The Garden Club of America collection.

Sponsor:

A project to describe images in this finding aid received Federal support from the Smithsonian Collections Care Initiative, administered by the National Collections Program.

Identifier:

AAG.GCA, File OR016

See more items in:

The Garden Club of America collection

The Garden Club of America collection / Series 1: United States Garden Images / Oregon

Archival Repository:

Archives of American Gardens

GUID:

https://n2t.net/ark:/65665/kb687c1b50d-61dc-4cc4-b37e-1f1ae86677a4

EDAN-URL:

ead_component:sova-aag-gca-ref10119

Painter:

Hassam, Childe 1859-1935  Search this

Medium:

Oil on canvas

Type:

Paintings

Date:

1908

Topic:

Landscape--Desert  Search this

Landscape--Mountain  Search this

Control number:

IAP 8A760010

Data Source:

Art Inventories Catalog, Smithsonian American Art Museums

EDAN-URL:

edanmdm:siris_ari_400672

Interviewee:

Okada, Frank S. (Frank Sumio), 1931-2000  Search this

Interviewer:

Johns, Barbara  Search this

Names:

Cornish School of Allied Arts (Seattle, Wash.)  Search this

Cranbrook Academy of Art -- Students  Search this

Northwest Asian American Project  Search this

University of Oregon -- Faculty  Search this

Bunce, Louis, 1907-1983  Search this

Charles, Ray, 1930-2004  Search this

Chin, Frank, 1940-  Search this

Davis, Sammy, 1925-  Search this

Derbyshire, Leon  Search this

Dusanne, Zoe, 1884-1977  Search this

Horiuchi, Paul, 1906-  Search this

Inada, Lawson Fusao  Search this

Ivey, William, 1919-1992  Search this

Jones, Quincy, 1933-  Search this

Kusama, Yayoi, 1929-  Search this

Martin, David Stone  Search this

Nomura, Kenjiro, 1896-1956  Search this

Okada, John  Search this

Peck, James Edward, 1907-  Search this

Shahn, Ben, 1898-1969  Search this

Tobey, Mark  Search this

Tsutakawa, George  Search this

Extent:

87 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1990 Aug. 16-17

Scope and Contents:

An interview of Frank Okada conducted 1990 Aug. 16-17, in Seattle, Wash., by Barbara Johns, for the Archives of American Art Northwest Asian American Project. Okada discusses his parents' background; his family including his brothers, John, author of "No-No Boy," and Charlie, a graphic designer; traveling to Japan for the Pacific Northwest Artists and Japan exhibition; being in an internment camp; painting in Eugene, Ore. and Seattle, Wash.; his painting techniques; studying under Leon Derbyshire; his connection with the jazz scene in Seattle in the late 1940s and 1950s including musicians Sammy Davis, Ray Charles, and Quincy Jones; attending Cornish School of Art, Seattle; meeting Mark Tobey; comparision of his painting style to Tobey's; his stint in the Army; attending Cranbrook Academy of Art and studying with painter Fred Mitchell; his Whitney fellowship in New York; study of Japanese, Chinese, and Zen paintings; working for Boeings in the early 1960s; traveling to France on a Guggenheim; teaching at University of Oregon in Eugene; his minimalist work; influence of Japanese art in his painting. Okada mentions Lawson Inada (Asian American poet), Frank Chin (Asian American playwright), artists David Stone Martin, James Edward Peck, Yayoi Kusama, George Tsutakawa, Paul Horiuchi, Ben Shahn, Kenjiro Nomura, Louis Bunce, Bill Ivey, and art gallery owner Zoe Dusanne.

Biographical / Historical:

Frank S. Okada (1931-2000) was a Japanese American painter based in Seattle, Washington. He taught at University of Oregon from 1969-1999.

General:

Originally recorded on 5 sound cassettes. Reformatted in 2010 as 9 digital wav files. Duration is 4 hrs., 38 min.

Provenance:

These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.

Restrictions:

Transcript available on the Archives of American Art website.

Occupation:

Sculptors -- United States  Search this

Painters -- Washington (State) -- Seattle  Search this

Topic:

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Painting, Japanese  Search this

Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this

Painting, Chinese  Search this

Asian American painters  Search this

Asian American sculptors  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

Funding for this interview was provided by the Henry Luce Foundation.

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

Identifier:

AAA.okada90

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ff6868c7-38fd-4e50-9323-474b69e03b8e

EDAN-URL:

ead_collection:sova-aaa-okada90

Collection Creator:

Freer, Charles Lang, 1856-1919  Search this

Container:

Box 27, Folder 17

Type:

Archival materials

Date:

1917

Collection Restrictions:

Collection is open for research.

Collection Rights:

Permission to publish, quote, or reproduce must be secured from the repository.

Collection Citation:

Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.

See more items in:

Charles Lang Freer Papers

Charles Lang Freer Papers / Series 2: Correspondence / 2.1: Charles Lang Freer Correspondence

Archival Repository:

Freer Gallery of Art and Arthur M. Sackler Gallery Archives

GUID:

https://n2t.net/ark:/65665/dc36bfec086-ec41-4f44-8c08-20cb3825d3a6

EDAN-URL:

ead_component:sova-fsa-a-01-ref483

Creator:

Loew, Michael, 1907-1985  Search this

Names:

Federation of Modern Painters and Sculptors  Search this

Holland-Goldowsky Gallery  Search this

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

Marilyn Pearl Gallery  Search this

New York World's Fair (1939-1940 : New York, N.Y.)  Search this

United States. Work Projects Administration  Search this

University of California, Berkeley  Search this

Albers, Josef  Search this

De Kooning, Elaine  Search this

De Kooning, Willem, 1904-1997  Search this

De Kooning, Willem, 1904-1997 -- Photographs  Search this

Dehner, Dorothy, 1901-1994  Search this

Gottlieb, Adolph, 1903-1974  Search this

Hasen, Burt  Search this

Jensen, Alfred, 1903-1981  Search this

Johnson, Philip, 1906-2005  Search this

Kahn, Louis I., 1901-1974  Search this

Kaprow, Allan  Search this

Kent, Rockwell, 1882-1971  Search this

Lahey, Richard, b. 1893  Search this

McDarrah, Fred W., 1926-2007  Search this

McNeil, George, 1908-1995  Search this

McPherson, Sarah Freedman, 1895-1978  Search this

Morris, George L. K., 1905-1975  Search this

Odets, Clifford, 1906-1963  Search this

Schempp, Theodore  Search this

Schnitzler, Max, 1903-  Search this

Siskind, Aaron  Search this

Slivka, Rose  Search this

Extent:

1.8 Linear feet ((partially microfilmed on 2 reels))

Type:

Collection descriptions

Archival materials

Date:

1930-1997

Scope and Contents:

Biographical material, correspondence, notes, writings, photographs, business and financial records, works of art, and printed material document the career of painter and educator Michael Loew.

REEL N68-94: Biographical material, 1957-1967, includes 5 biographical sketches, a bibliography of Loew's publications, and an artist's statement. Correspondence, 1935-1968, is with colleagues, galleries, and educational institutions. There are one or two letters each from colleagues Josef Albers, Willem de Kooning, Adolph Gottlieb, Philip Johnson, Richard Lahey, George L.K. Morris, and Clifford Odets. Nine letters relate to Loew's work for the U.S. Works Progress Administration and the New York World's Fair. Writings, 1966, consist of several drafts for essay "Is It the Function of the Artist to Communicate with his Audience." A contract, 1938, is between Loew and Willem de Kooning and the New York World's Fair 1939 Inc. Printed material, 1944-1968, consists of exhibition announcements and catalogs. Photographs, 1960-1964, are of Loew and his art works. Notes consist of 2 undated notebooks and a typescript concerning Josef Albers. A scrapbook, 1938-1965, contains 4 photographs of art works, clippings, and exhibition announcements and catalogs.

REEL 5053: Correspondence, 1944-1990, is with galleries, including the Holland-Goldowsky Gallery, educational institutions, including the University of California at Berkeley, and colleagues including Dorothy Dehner, Burt Hasen, and Aaron Siskind. Correspondence, 1956-1957, with Rockwell Kent concerns the rental of Kent's Monhegan Island cabin. One letter, 1959, includes 3 photographs of Loew, Louis Kahn, Allan Kaprow, and George McNeil. Lecture notes are for an Artists Equity symposium, 1956, and a panel discussion on painting, 1968. Writings, 1968-1979, consist of 3 essays by Loew and tributes written to Sarah Freedman McPherson by Loew and others. Printed material, 1932-1992, consists of clippings, exhibition announcements and catalogs, and a book "The Artist's World" by Fred W. McDarrah. Photographs, 1930-1979, are of Loew, his friends, and his art works. One photograph is of Alfred Jensen, Theodore Schempp, Max Schnitzler, and Loew in Tunis, 1930.

UNMICROFILMED Biographical material incudes curriculum vita, obituaries, and birth announcements of Jonathan Loew, Michael Loew's son. Correspondence is with Willem and Elaine de Kooning. Writings include notes and a transcription of Loew's 1966 MoMA talk Must the Artist Communicate with his Audience, drafts of an article by Loew regarding Joseph Albers NEA and Guggenheim grant applications. Photographs are of Loew, his artwork, and his travels in Mexico as well as a color photograph of Loew and Willem de Kooning in de Kooning's studio taken by Rose Slivka. Artwork includes original off-prints for book covers. Business files relate to the 1939 World's Fair mural commission and include information about gifts of artwork to museums. Financial material includes a sales record book and records of sales with the Marilyn Pearl and Landmark galleries. Also included are literature and directories from the Federation of Modern Painters & Sculptors, exhibition announcements,and newspaper clippings.

Biographical / Historical:

Born in New York City, Michael Loew (1907-1985) studied at the Art Students League from 1926-1929, Academie Scandinave in Paris from 1929-1930, the Hans Hofmann School of Fine Art from 1947-1949, and at the Atelier Fernand Leger from 1949-1950. Loew worked as a stained glass artist from 1926 to 1929, and painted murals with Willem de Kooning for the New York World's Fair of 1939. Between 1956 and 1966, he taught painting at the Portland (Oregon) Art Museum, University of California at Berkeley, and at the School of Visual Arts in New York.

Provenance:

Material on reel N68-94 lent for microfilming 1968 by Michael Loew; approximately 50 letters and an artists' statement were later received in subsequent donations. Additional papers were donated in 1981-1982 by Loew, and in 1994 and 2008 by his widow, Mildred C. Loew, a portion of which was microfilmed on reel 5053. The photograph of Loew and de Kooning taken by Rose Slivka was donated by Loew's niece, Jackie Cohen, in 2007.

Restrictions:

Microfilmed portion must be accessed on film. Use of original papers requires an appointment.

Occupation:

Painters  Search this

Art teachers  Search this

Topic:

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

Identifier:

AAA.loewmich

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9e3d9b795-510f-41a5-8709-a30f19d5425a

EDAN-URL:

ead_collection:sova-aaa-loewmich

Interviewee:

Okada, Frank S. (Frank Sumio), 1931-2000  Search this

Interviewer:

Johns, Barbara  Search this

Subject:

Bunce, Louis  Search this

Charles, Ray  Search this

Chin, Frank  Search this

Davis, Sammy  Search this

Derbyshire, Leon  Search this

Dusanne, Zoe  Search this

Horiuchi, Paul  Search this

Inada, Lawson Fusao  Search this

Ivey, William  Search this

Jones, Quincy  Search this

Kusama, Yayoi  Search this

Martin, David Stone  Search this

Nomura, Kenjiro  Search this

Okada, John  Search this

Peck, James Edward  Search this

Shahn, Ben  Search this

Tobey, Mark  Search this

Tsutakawa, George  Search this

Cornish School of Allied Arts (Seattle, Wash.)  Search this

University of Oregon  Search this

Cranbrook Academy of Art  Search this

Northwest Asian American Project  Search this

Type:

Sound recordings

Interviews

Citation:

Quotes and excerpts must be cited as follows: Oral history interview with Frank S. Okada, 1990 Aug. 16-17. Archives of American Art, Smithsonian Institution.

Topic:

Asian American art  Search this

Asian American artists  Search this

Japanese American art  Search this

Japanese American artists  Search this

Painting, Japanese  Search this

Painting, Modern -- 20th century -- Washington (State) -- Seattle  Search this

Painting, Chinese  Search this

Asian American painters  Search this

Asian American sculptors  Search this

Japanese Americans -- Forced removal and internment -- 1942-1945  Search this

Theme:

Asian American  Search this

Record number:

(DSI-AAA_CollID)11693

(DSI-AAA_SIRISBib)216548

AAA_collcode_okada90

Theme:

Asian American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_216548

Collector:

Sultner-Welles, Donald H. (Sultner, Donald Harvey), 1914-1981  Search this

Printer:

Janus, Allan  Search this

Interviewee:

Hanfstaengl, Erna  Search this

Names:

Baltimore Symphony Orchestra  Search this

Chautauqua Institute  Search this

Colonial Williamsburg Foundation  Search this

Holland-America Cruises  Search this

Hitler, Adolf, 1889-1945  Search this

Extent:

87.6 Cubic feet (331 boxes, 2 map-folders)

Type:

Collection descriptions

Archival materials

Passports

Photographs

Travelogs

Receipts

Ephemera

Files

Filmstrips

Lecture notes

Personal papers

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence)

Professional papers

Bank statements

Correspondence

Audiotapes

Series 12.

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Date:

circa 1790-1981

bulk 1945-1980

Scope and Contents:

This collection is primarily the work of one individual, Donald Harvey Sultner, known professionally as Donald Sultner-Welles (1914-1981). The collection forms a written and visual record of Sultner's family, life, and career from 1913-1980. Its major strength is Sultner's photographic documentation of the world during his travels, ca. 1950-1980. Work by other photographers and artists, correspondence, greeting cards, and contemporary memorabilia and ephemera are included, along with fewer than fifty examples of earlier materials, ca. 1790-1900, collected by Sultner.

The entire collection reflects Sultner's lifework and interests. Housed in boxes the collection is organized into eleven series: Personal Papers; Professional Papers; Lecture Materials; Biographical Materials; Transparencies; Photoprints; Photonegatives; Prints, Drawings, Mixed Media; Audio Tapes; Miscellaneous; and Steve Eyster Addenda. The arrangement within each series is based as closely as possi-ble on Sultner's own organization of the materials. However, in several instances similar materials were found separated and have been placed together. In addition, obvious filing mistakes and spelling errors have been corrected. The spelling of geographic place names is based on Official Standard Names prepared by the U.S. Board on Geographic Names, Office of Geography, U.S. Department of the Interior. Not all names given by Sultner were found in the gazetteers, so there may be errors.

The bulk of the collection consists of 2-1/4-inch by 2-1/4-inch color transparencies (Series 5). However, the manuscript materials (Series 1-4) provide a detailed complement to the transparencies. For example, from the mid-1950s until the late 1970s, Sultner kept a travel diary (Se-ries 1). Written on the backs of postcards, this stream-of-consciousness journal reflects not only his daily trips, but his impressions of the countries and thoughts on his photography. A juxtaposition of cards with images is especially useful in understanding what Sultner photographed as well as why and how he photographed it. Sultner's professional corre-spondence (Series 2) documents the various types of groups before which he performed and equipment manufacturers dealt with for cameras, projectors, and so on. Notes, drafts, and final lectures (Series 3) present the performance side of Sultner. This material, when viewed with tapes of concerts and slides, begins to recreate the photo-concert as Sultner presented it. Scrapbooks (Series 4), kept by Sultner from the 1940s to the 1980s, present Sultner's life and career in chronological fashion.

The transparency portion of the collection (Series 5), containing over 87,000 images, is especially rich because of its documentation of the countries of the world. People are seen at their daily tasks, such as washing clothes, marketing, shopping, and eating. Cities are documented as they changed over the years. Two areas in particular will be of spe-cial interest to European and Asian researchers. The first is Sultner's USIS Asian tour in 1959. He visited Japan, Java, India, Korea, the Phil-ippines, Laos, Cambodia and Vietnam. The serene, prewar cities and coun-tryside of Laos, Cambodia, and Vietnam evince nothing of the devastation to come in the 1960a and 70s.

The second area of interest is Sultner's passion for documenting archi-tecture. As a guest of the German government in 1954, Sultner documented the devastation of World War II and photographed both the reconstruction of bombed buildings and the construction of buildings reflecting "new" postwar architectural styles. In addition to photographing post-WW II styles, throughout his career Sultner documented Palladian, baroque and Rococo architecture. This interest manifested itself in several of his lectures.

A third subject area of interest to Sultner was gardens. Among his first lectures following his USIS tour was "Gardens of the World." Sultner de-veloped this theme into an ongoing commitment to ecology, culminating in a filmstrip, "The Time is Now" (Series 10), prepared for the Hudson River Conservation Society in the 1960s. Carl Carmer, a noted author, wrote the text for the filmstrip. Sultner's taped interviews, lectures, and program music (Series 9) complement the transparencies. During his USIS-sponsored Asian tour in 1959, Sultner recorded impressions of his trip on tape. Interviews with people living in the countries he visited, radio interviews, and his own personal reflections are included. Of particular interest are his "No Harm Asking" interviews in Manila (tape #2), his interview of two French hotel managers in Saigon discussing post-French control conditions (tape #9), and--perhaps the most unusual--his discussion with Erna Hanfstaengl about her personal relationship with Adolf Hitler (tape #107). Scripts for lectures (Series 3) round out the documentation of Sultner's profes-sional work.

Because of the arrangement of the transparencies, it is necessary to check several areas for the same subject. For example, Vietnam images are in the "World" section alphabetically under Vietnam (box 81). Sult-ner also lectured on Vietnam, so there are Vietnamese images in the "framed subjects" (Boxes 137-138). Another example, perhaps more compli-cated, but more common to Sultner, was his distinguishing between images of unidentified "People" and identified "Portraits." Transparency stud ies of human beings will be found under the subseries "People." "Subjects --Portraits," various countries in the subseries "World," and "Lectures." There are also individuals in the black-and-white photoprints (Series 6), and photonegatives (Series 8). The painter and print-maker Charles Shee-ler appears in a number of locations, as does tenor Roland Hayes. Another area of complexity with regard to people concerns the transparencies and negatives. Sultner interfiled his transparencies and negatives of iden-tified individuals. For appropriate storage, these two different formats have been arranged in separate series. Therefore, instead of container lists for the two series, there is a combined alphabetical index to both (pp. 166-206).

Of tangential interest are the photoprints (Series 6), etchings, wood-cuts, and other prints (Series 8) collected by Sultner. One particular subseries of interest contains photographs presented to Sultner by Asian photographers during his 1959 tour. Over 45 images were given to Sultner and represent the standards of camera-club photography in the 1950s. Thesecond subseries consists of over 25 prints by the Italian-American art-ist Luigi Lucioni (1900- ). For further information on this artist,see The Etchings of Luigi Lucioni, -A Catalogue Raisonne', by Stuart P.Embury (Washington, 1984). Lucioni also painted Sultner's portrait in1952 and the "People" section of the transparencies contains a number of images of Lucioni at work. Another significant category is the Japanese prints, including two by a major nineteenth-century artist, Ando Hiro-shige (1797-1858).

Arrangement:

The collection is arranged into eleven series.

Series 1: Personal Papers, 1923-1981

Series 2: Professional Papers, 1954-1980

Series 3: Lecture Materials, 1952-1980

Series 4: Biographical Materials, 1954-1980

Series 5: Transparencies, 1947-1980

Series 6: Photoprints, 1913-ca. 1980

Series 7: Photonegatives, 1929-1981

Series 8: Prints, Drawings, Mixed Media, ca. 1790-1979

Series 9: Audio Tapes, 1947-1980

Series 10: Miscellaneous, 1947-1980

Series 11: Steve Eyster Addenda, 1937-1980

Biographical / Historical:

Donald Harvey Sultner was bom in York, Pennsylvania, on April 13, 1914, the son of Lillian May Arnold Sultner and Harvey A. Sultner. In 1923 Sultner attended the Lewis Institute in Detroit, Michigan, to overcome a speech impediment. He entered the Wharton School of the University of Pennsylvania in 1932 and graduated in 1936. Sultner studied merchandising and sang in the glee club, then under the direction of composer Harl MacDonald. Sultner, a baritone, continued his interest in music and studied voice with Reinald Werrenrath and with Florence Benedict and Bruce Benjamin in New York City. In the late 1940s and early 1950s he appeared in concert with accompanists at schools, clubs, and resort hotels along the East Coast. It appears that photography was always an important part of Sultner's life. Using a small format (120) camera, he recorded his vacation travels around the United States and Canada, parties, and his family. While living in New York, Sultner continued photographing friends and family and began photographing the famous people he encountered on his concert tours. In the early 1950s he began taking 2-1/4-inch by 2-1/4-inch color transparencies (slides) of landscapes and architecture as he traveled giving concerts.

Sultner, who had taken the stage name of "Sultner-Welles," began what was to be his lifework as a professional "photo-lecturer" in 1952. He illustrated his talks on nature, art, architecture, and the environment with his color slides. In 1954 Sultner toured West Germany as a guest of the Bonn government, and in 1959 he lectured in Asia under the auspices of the U.S. State Department. He was dubbed the "camera ambassador." Constantly adding new material to his collection of slides, Sultner traveled extensively throughout the United States, speaking before garden clubs, cultural organi-zations, and schools. He also appeared aboard various ships of the Holland-America line during a number of cruises abroad.

Sultner had established his performance style by the early 1960s. He expanded his lectures to include a combination of art, words, and music. The expanded presentation resulted in the "photo-concert," a unique synthesis of light and sound that Sultner frequently per-formed with a symphony orchestra. The Baltimore Symphony Orchestra commissioned "Concertino for Camera and Orchestra" by Eric Knight with Sultner in mind. The world premiere was in Baltimore in March 1979. While he spoke on many art, garden, and architectural topics, Sultner specialized in subjects relating to the baroque and rococo periods and Palladian architecture.

Sultner died of cancer in York, Pennsylvania, on March 25, 1981, at the age of 67.

1914 -- April 13, born York, Pennsylvania.

1929 -- In Detroit at Lewis Institute to overcome a speech impediment.

1932 -- To University of Pennsylvania.

1935 -- Summer trip to Roanoke (VA), Picketts, Hershey (PA); fall trip to New England for fraternity (AXP) convention.

1936 -- Spring glee club trip; graduated from the Wharton School of the University of Pennsylvania; summer trips to Newport News (VA), northern trip to Canada, Picketts (PA).

1937 -- Fall trip to Williamsburg (VA), Duke University (NC); Sultner family begins building "Glen Hill" (Dover, PA).

1938 -- Summer at home, and Picketts (PA), Camp Pratt.

1939 -- Spring trip to Washington, D.C.; September trip to The Homestead (WV), Hot Springs (WV), Virginia; Lake Mohonk (NY).

1940 -- Summer trip to New Orleans, Blowing Rock (NC); winter trip to Skytop Club (NY); fall trip to Atlantic City (NJ), Philadelphia (PA), Annapolis (MD).

1941 -- Winter 1941-42 appearance in "Hit the Deck." Lake Mohonk (NY) with Ted Walstrum (Sept. 22-23); Skytop Club (NY) (February); summer trip to Canada, Lake Chazy (NY) (Aug. 17-23).

1942 -- Spring in Atlantic City (NJ); summer to Buck Hill Falls, Lakes Chazy and Mohonk.

1943 -- Summer trip to Mohonk (NY).

1944 -- Summer: To Toronto (Ontario), Muskoka Lake, Bigwin Island, Montreal (Quebec), Mohonk (NY).

1945 -- Summer: To Winnepesauke (ME), Woodstock (NY), Ogunquit (ME), Bridgeport (CT).

1946 -- To Mohonk (NY), Ogunquit (ME), Old Saybrook (CT), Nantucket (RI).

1947 -- Singing tour of Canada and New England; winter-spring tour to Georgia and Florida.

1948 -- To Florida and Nassau, Feb.-Mar., Vermont, July-Aug.; Nassau-Havana-Miami-Bermuda, October.

1949 -- Singing tour of North and South Carolina.

1950 -- Summer trip to South.

1951 -- To District of Columbia, Massachusetts, New Hampshire, [New Jersey?], New York, Vermont.

1952 -- January 9: first public photo-concert, Pennsylvania Academy of the Arts, Philadelphia; trips to Connecticut, Florida, Massachusetts, New Hampshire, New Jersey, New York, Rhode Island, South Carolina, Vermont.

1953 -- To Connecticut, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, Pennsylvania, South Carolina, Vermont.

1954 -- Guest of German government for a study tour in the fall. To District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Pennsylvania, South Carolina, Virginia.

1955 -- To Holland; Connecticut, District of Columbia, Florida, Massachusetts, New Hampshire, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1956 -- To California, District of Columbia, Florida, Georgia, Illinois, Indiana, Massachusetts, New Jersey, New York, North Carolina, Ohio, Pennsylvania, South Carolina, Tennessee, Virginia.

1957 -- Holland-America Cruise to Germany, Austria, Italy. To Connecticut, Illinois, Massachusetts, New Hampshire, New Jersey, New York, North Carolina, Ohio, Pennsylvania, Vermont, Virginia.

1958 -- Holland-America Cruises to Germany, Austria, Holland, Italy, Switzerland. To Connecticut, Florida, Georgia, Illinois, Massachusetts, Minnesota., Missouri, New Hampshire, New York, Pennsylvania, Rhode Island, South Carolina, Tennessee, Vermont, Wisconsin.

1959 -- United States Information Service (USIS)-sponsored tour of Asia: Burma, Cambodia, Hong Kong, India, Indonesia, Japan, Korea, Laos, Malaya, Philippines, Singapore, Taiwan, Thailand, Turkey, Vietnam. Also visited Austria, Czechoslovakia, Germany, Greece, Iran, Italy, Spain; Alaska, California, Massachusetts, New York, Pennsylvania.

1960 -- Holland-America Cruise to Austria, Belgium, Caribbean, France, Germany, Holland, Italy, Morocco. To Arizona, California, Florida, Indiana, Massachusetts, Minnesota, Nevada, New Hampshire, New Mexico, New York, Texas, Utah, Virginia, Washington, Wisconsin.

1961 -- To Canada, France, Germany, Switzerland; Alabama, California, Colorado, Connecticut, Florida, Georgia, Idaho, Illinois, Louisiana, Mississippi, Missouri, Montana, New Hampshire, New Jersey, New York, North Carolina, Ohio, Oregon, Pennsylvania, Rhode.Island, South Dakota, Tennessee, Utah, Vermont, Virginia, Washington, Wisconsin.

1962 -- Portfolio, "Autumn in Vermont," with introduction by Carl Carmer, published in Autumn issue of Vermont Life. Holland-America Cruise to Denmark, England, France, Germany, Holland, Italy, Sweden. To Connecticut, District of Columbia, Florida, Illinois, Iowa, Massachusetts, Michigan, New York, North Carolina, Pennsylvania, South Carolina, Vermont, Virginia.

1963 -- Holland-America Cruise to Caribbean, Canada, Sweden, Thailand. To Alabama, California, District of Columbia, Florida, Georgia, Illinois, Louisiana, Massachusetts, Minnesota Mississippi, Missouri, New Hampshire, New Jersey, N;w York, Ohio, Pennsylvania, Texas, Vermont, Virginia, Washington.

1964 -- Holland-America Cruise to Germany, Canada, England, Holland, Wales. To Delaware, District of Columbia, Indiana, Kentucky, Massachusetts, New Hampshire, New York, Ohio, Pennsylvania, Texas, Virginia.

1965 -- Holland-America Cruise to Austria, Czechoslovakia, France, Germany, Holland, Portugal, Wales. To Arkansas, Connecticut, District of Columbia, Indiana, Kentucky, New Hampshire, New York, Pennsylvania, Vermont, Virginia.

1966 -- Holland-America Cruise to Caribbean, Germany, France, Holland, Italy, Portugal, Switzerland. To New Jersey, North Carolina, Pennsylvania, South Carolina, Tennessee, Virginia.

1967 -- Holland-America Cruise to Caribbean, Austria, Denmark, England, Germany, Holland, Italy, Portugal, Sweden, Wales. To Massachusetts, New Jersey, New York, Rhode Island, Vermont, Virginia.

1968 -- To Germany; Massachusetts, New Hampshire, New Jersey, New York, Ohio, Pennsylvania, Vermont, Virginia.

1969 -- To England, France, Germany, Holland, Switzerland; Ohio, Pennsylvania, Virginia.

1970 -- Holland-America Cruise to Caribbean, Denmark, Iceland, Sweden. To Alabama, District of Columbia, Florida, Georgia, Massachusetts, New Hampshire, New York, Pennsylvania, South Carolina, Vermont, Virginia.

1971 -- Holland-America Cruise to Caribbean, Canada, Denmark, Italy, Portugal, Sweden. To Alabama, Georgia, Massachusetts, Nebraska, New Hampshire, New York, North Carolina, Pennsylvania.

1972 -- Holland-America Cruise to Asia, Pacific, Caribbean, Africa, Austria, Italy, Japan, Thailand, Turkey. To California, New Jersey, New York, Pennsylvania, Rhode Island, Virginia.

1973 -- Holland-America Cruise to Austria, Denmark, Germany, Holland, Iceland, Sweden. To California, Connecticut, District of Columbia, Massachusetts, New York, Ohio, Pennsylvania, Vermont.

1974 -- To Germany, Switzerland; California, Illinois, Massachusetts, New Jersey, New York, Ohio, Pennsylvania, Virginia.

1975 -- To Austria; California, Connecticut, District of Columbia, Massachusetts, New Jersey, New York, North Carolina, Pennsylvania, Virginia.

1976 -- To Canada; Connecticut, District of Columbia, Illinois, Iowa, Massachusetts, Missouri, Nebraska, New Mexico, New York, Ohio, Pennsylvania, Utah.

1977 -- To Canada, Germany; New York, Pennsylvania, Vermont, Virginia.

1978 -- To Scotland; Connecticut, Florida, Georgia, Kentucky, Massachusetts, New York, Pennsylvania, Rhode Island, South Carolina.

1979 -- To England; Florida.

1980 -- To Florida.

1981 -- March 25: Sultner dies of cancer, York, Pennsylania.

Introduction:

The Donald H. Sultner-Welles Collection, ca. 1790-1981, came to the National Museum of American History in 1982 from the estate of Mr. Sultner. The collection was created by Sultner over his adult life and represents one of the most extensive collections of color transparencies created by one individual and held in a public repository. Sultner's emphasis was on world culture. He took the majority of his photographs in the eastern United States, western Europe, and Asia. Gardens, architecture, and people are the three major subject areas represented in the collection. Of additional interest are Sultner's taped impressions of his 1959 United States Information Service (USIS)-sponsored Asian tour. The collection occupies 309 boxes and covers more than 83 cubic feet.

The Donald H. Sultner-Welles Collection is open to researchers in the Archives Center, third floor east, of the National Museum of American History, between 12th and 14th Streets, on Constitution Avenue, N.W., Washington, D.C. 20560. The Archives Center is open Monday through Friday from 10:00 a.m. to 5:00 p.m. Written and telephone (202/357-3270) inquiries are welcome and researchers are encouraged to contact the Archives Center before their arrival. The FAX number is 202/786-2453.

This is the eleventh in a series of occasional guides to collections in the Archives Center. Finding aids to other collections are available. The Guide to Manuscript Collections in the National Museum of History and Technology (1978) and an updated compilation contain brief descriptions of all archival holdings in the Museum. All current Archives Center holdings are available for search on the Smithsonian Institution Bibliographic Information System (SIBIS), an online database.

Restrictions:

Collection is open for research but a portion of the collection is stored off-site and special arrangements must be made to work with it. Contact the Archives Center for information at archivescenter@si.edu or 202-633-3270.

A small number of letters and photographs are restricted until the year 2031. Identification list in box.

Rights:

Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.

Topic:

Portraits -- 20th century  Search this

Lecturers  Search this

Photographers  Search this

Gardens -- Photographs -- 1300-1980  Search this

Architecture -- Photographs -- 1300-1980  Search this

Travel photography -- 1950-2000  Search this

Genre/Form:

Passports

Photographs -- Black-and-white negatives -- Acetate film

Travelogs

Receipts -- 20th century

Ephemera

Files

Filmstrips

Lecture notes

Personal papers -- 20th century

Silver-dye bleach process

Contracts

Notebooks

Prints

Press releases

Ships' passenger lists

Project files

Magnetic tapes

Posters

Postcards

Vertical files

Dye destruction process

Travel diaries

Letters (correspondence) -- 20th century.

Professional papers

Bank statements

Correspondence -- 1930-1950

Photographs -- Phototransparencies -- 20th century

Audiotapes -- 1940-1980

Series 12. -- Cibachrome (TM)

Photographs -- 20th century

Clippings

Card files

Concert programs

Dye destruction photoprints

Biography files

Awards

Business records

Birthday cards

Identifier:

NMAH.AC.0145

See more items in:

Donald H. Sultner-Welles Collection

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep8c00c15e0-d905-4a3c-ab89-6fbd2f9c5f7d

EDAN-URL:

ead_collection:sova-nmah-ac-0145

Creator:

Tam, Reuben  Search this

Names:

Alan Gallery (Charles Alan)  Search this

Brooklyn Museum of Art  Search this

Coe Kerr Gallery  Search this

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

John Simon Guggenheim Memorial Foundation  Search this

Skowhegan School of Painting and Sculpture  Search this

Andrews, Dorothy, 1918-2008  Search this

Kienbusch, William, 1914-1980  Search this

Nesjar, Carl, 1920-  Search this

Solomon, Hyde, 1911-  Search this

Extent:

9.2 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Sound recordings

Poems

Diaries

Scrapbooks

Watercolors

Drawings

Date:

1931-2006

Summary:

The papers of landscape painter and educator Reuben Tam measure 9.2 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks.

There is a 1.1 linear foot unprocessed addition to the collection donated in 2020 that includes 34 sketchbooks, circa 1940-1974, by Tam from his time in New York, Hawaii, Connecticut, Massachusetts, Oregon, Alaska and Canada.

Scope and Contents:

The papers of landscape painter and educator Reuben Tam measure 9.2 linear feet and date from 1931 to 2006. The papers document his career as a painter in New York, Maine, and Hawaii through biographical material; correspondence with family, friends, art organizations, schools, and galleries; diaries, poetry, and other writings; exhibition catalogs, news clippings, other printed material; photographs; artwork, including seventeen sketchbooks; and eight scrapbooks. There is a 1.1 linear foot unprocessed addition to the collection donated in 2020 that includes 34 sketchbooks, circa 1940-1974, by Tam from his time in New York, Hawaii, Connecticut, Massachusetts, Oregon, Alaska and Canada.

Biographical material includes school documents, records of his tenure as an instructor at the Brooklyn Museum of Art School, artwork consignment and sales records, and slides and accompanying audio cassette recording of the "Reuben Tam Show" about his work as an artist on Monhegan Island, Maine.

Correspondence is with family, fellow artists, including William Kienbusch and Hyde Solomon, as well as art organizations, schools, and museums, such as Brooklyn Museum of Art School, Guggenheim Memorial Foundation, Maine Coast Artists group, and the Skowhegan School of Painting and Sculpture. Also found is correspondence with the three galleries which represented his work: Downtown Gallery, Alan Gallery, and Coe Kerr Gallery.

The collection includes five bound diaries as well as diary entries written by Reuben Tam on loose sheets of paper, primarily documenting the 1940s. Other writings include drafts of poetry, one notebook, miscellaneous notes, and essays by others.

Printed material consists of school publications, exhibition catalogs and announcements for solo and group shows, brochures, flyers, magazines, bulletins, and news clippings. Eight scrapbooks found in this collection also include newspaper clippings, exhibition announcements and catalogs, as well as event invitations, membership cards, and letters, documenting 40 years of Reuben Tam's career.

Photographs are of Reuben Tam, Tam with friends and family, and artwork. One photograph album contains photographs from Tam's visits to Maine from 1946 to 1948, and includes photographs of fellow artists Hyde Solomon, Carl Nesjar, Dorothy Andrews, and William Kienbusch. Artwork in the collection includes prints, drawings, and watercolors as well as seventeen large sketchbooks documenting the coastal landscape of Monhegan Island, Maine.

Arrangement:

The collection is arranged as 9 series:

Missing Title

Series 1: Biographical Material, 1934-1993 (Box 1; 0.4 linear feet)

Series 2: Correspondence, 1931-2006 (Box 1-4; 3.5 linear feet)

Series 3: Diaries, 1932-1974 (Box 4-5; 0.4 linear feet)

Series 4: Writings, 1939-1987 (Box 5; 7 folders)

Series 5: Printed Material, 1935-1997 (Box 5-6, 9; 1.2 linear feet)

Series 6: Photographs, circa 1930-1990 (Box 6-7, 9; 1.0 linear foot)

Series 7: Artwork, circa 1936-1975 (Box 7, 9-10, OV 11; 0.7 linear feet)

Series 8: Scrapbooks, 1938-1978 (Box 7-8; 0.9 linear feet)

Series 9: Unprocessed Addition, circa 1940-1974 (Box 12, OV13; 1.1 linear feet)

Biographical / Historical:

Reuben Tam (1916-1991) was a landscape painter and educator in New York, Maine, and Hawaii. Tam was born in Kapaa, Hawaii, in 1916. He received a degree in education in 1937 from the University of Hawaii and was briefly a public school teacher before attending graduate courses at the California School of Fine Arts. In 1941 he moved to New York and took courses in art history and philosophy at the New School for Social Research and Columbia University. Tam became affiliated with the Downtown Gallery in 1945 and was a prolific exhibitor in national and regional shows, winning critical praise as an abstract landscape painter. In 1948 he was awarded a Guggenheim Fellowship and first exhibited in the National Academy's annual exhibition in 1947.

Tam was an instructor at the Brooklyn Museum of Art School from 1946 to 1974. While there he taught advanced studies in painting and was chairman of the graduate painting department. He also served as a visiting professor at Oregon State University, Haystack, and Queens College, CUNY.

Beginning in 1948, Tam and his wife, Geraldine, spent summers at their home and studio on Monhegan Island, Maine. Tam's work was deeply influenced by coastal landscapes both in Maine and in his native Hawaii. In 1981 he and his wife moved back to Kapaa, Hawaii, where he continued to paint and exhibit his new works until his death in 1991.

Related Materials:

Reuben Tam papers, 1958-1966, are also located at Syracuse University.

Provenance:

Scrapbooks were lent for microfilming in 1970 by Reuben Tam and were subsequently donated in 2009 along with additional papers by Geraldine King Tam, Reuben Tam's widow. 34 additional sketchbooks were donated in 2020 by the Geraldine King Tam Trust, via Cindy King, trustee and niece of Geraldine King Tam.

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.

Occupation:

Painters -- Maine  Search this

Painters -- Hawaii  Search this

Topic:

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

Educators -- Hawaii  Search this

Educators -- Maine  Search this

Educators -- New York (State)  Search this

Asian American artists  Search this

Genre/Form:

Sketchbooks

Sound recordings

Poems

Diaries

Scrapbooks

Watercolors

Drawings

Citation:

Reuben Tam papers, 1931-2006. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing and digitization of the Reuben Tam papers received Federal support from the Asian Pacific American Initiatives Pool, administered by the Smithsonian Asian Pacific American Center.

Identifier:

AAA.tamreub

See more items in:

Reuben Tam papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9cf2f8a4b-e9dd-4583-8b33-f5ac639c6ce0

EDAN-URL:

ead_collection:sova-aaa-tamreub

Interviewee:

Kahn, Wolf, 1927-2020  Search this

Interviewer:

Cummings, Paul  Search this

Extent:

2 Sound tape reels (Sound recording, 5 in.)

169 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound tape reels

Pages

Sound recordings

Interviews

Date:

1977 Nov. 28-1978 Jan. 6

Scope and Contents:

Interview with Wolf Kahn, conducted by Paul Cummings for the Archives of American Art, Smithsonian Institution in his New York City studio, on November 28, 1977 and January 16, 1978.

Kahn speaks of being raised by his grandparents in Germany in the 1930s; coming to England via the children's transport prior to the outbreak of World War II; emigrating to the US after the war; joining the Navy; his art classes at the Hofmann School; his early exhibitions in New York and involvement at the Hansa Gallery; living in Oregon; his artistic influences, including Bonnard, Van Gogh, Kokoschka, and Soutine; the New York art scene in the 1950s, including at the Artists' Club; meeting his wife Emily; the change in his style after visiting Venice; his use of colors and pastels; exhibiting at Grace Borgenicht's Gallery; his experiences teaching art at Haystack and other schools; the idea of the "problem" in formalist art; his working methods; and his impressions of contemporary art and art students. Kahn also recalls Barnett Newman, Meyer Schapiro, Franz Klein, Willem de Kooning, Stuart Davis, Hans Hofmann, Joan Mitchell, Felix Pasilis, Clement Greenberg, Stefan Wolpe, Allan Kaprow, Fairfield Porter, Tom Hess, Richard Bellamy, Grace Borgenicht, Frank O'Hara, Milton Avery, Jim Dine, and others.

Biographical / Historical:

Wolf Kahn (1927-2020) was a painter from New York, N.Y.

General:

Sound quality is poor.

Provenance:

These interviews are part of the Archives' Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.

Topic:

Painting, American  Search this

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

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.kahn77

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw938201a5e-af3a-4481-970e-b6480738300a

EDAN-URL:

ead_collection:sova-aaa-kahn77

Interviewee:

Harrington, LaMar, 1917-2005  Search this

Interviewer:

Prince, Sue Ann  Search this

Extent:

6 Sound cassettes (Sound recording)

148 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Sound cassettes

Pages

Sound recordings

Interviews

Date:

1983 November 28-1984 February 10

Scope and Contents:

An interview of LaMar Harrington conducted 1983 November 28-1984 February 10, by Sue Ann Kendall, for the Archives of American Art's Northwest Oral History Project.

Biographical / Historical:

LaMar Harrington (1917-2005) was a curator from Seattle, Washington.

Provenance:

This interview is part of the Archives' Northwest Oral History Project, begun in 1982 to document the Northwest artistic community through interviews with painters, sculptors, craftsmen, educators, curators, and others, in Oregon, Washington and Montana.

Topic:

Art, Modern -- Northwestern States  Search this

Art, American -- Northwestern States  Search this

Genre/Form:

Sound recordings

Interviews

Sponsor:

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

Identifier:

AAA.harring83

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9241ef623-4539-401d-9508-584cb2cc4b9b

EDAN-URL:

ead_collection:sova-aaa-harring83

Creator:

Oregon Public Broadcasting  Search this

Names:

Fountain Gallery of Art  Search this

Peterson, Ron  Search this

Russo, Michele, 1909-2004  Search this

Schiedel, Gary  Search this

Schnitzer, Arlene, 1929-  Search this

Schnitzer, Arlene, 1929- -- Interviewee  Search this

Skinner, Caroline  Search this

Interviewer:

Van Cleve, Jane  Search this

Extent:

12 videocassettes (U-matic) (ca. 3 hrs., 30 min.) : sd., col. ; 1/2 in. + producer's log

Type:

Collection descriptions

Archival materials

Video recordings

Interviews

Date:

1984 Jul.- Aug

Scope and Contents:

12 original 20 minute videocassette tapes regarding Portland painter Michele Russo made for "Front Street Weekly," Oregon Public Broadcasting's public affairs news magazine. Among the tapes are an interview of Arlene Schnitzer of the Fountain Gallery, which represented Russo; an interview of Russo conducted by Jane Van Cleve; and Russo painting in his studio. Included is the producer's original logbook containing an index and time code to the tapes. The photographers were Ron Peterson and Gary Schiedel; the field producer was Caroline Skinner.

Provenance:

Donated 1985 by Oregon Public Broadcasting.

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 -- Oregon -- Portland  Search this

Topic:

Painters -- Oregon -- Portland -- Interviews  Search this

Genre/Form:

Video recordings

Interviews

Identifier:

AAA.oregpubl

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9aef4c8c2-a271-4d91-b560-ba7aaaec0e41

EDAN-URL:

ead_collection:sova-aaa-oregpubl