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Collection Creator:

Macbeth Gallery  Search this

Extent:

3.3 Linear feet (Boxes 120-130 )

Type:

Archival materials

Date:

1892-1952

Scope and Contents:

The 19 scrapbooks in this series are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. Although incomplete, the scrapbooks provide fairly comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Some of the scrapbooks also contain printed material related to art, exhibitions and events elsewhere. Many of the exhibition catalogs found here are annotated with prices and other notes. Notably missing is the catalog for the 1908 exhibition, The Eight.

See Appendix for a list of Macbeth Gallery exhibitions documented in Series 5: Scrapbooks.

Arrangement:

As some of the dates of the scrapbooks overlap, they were numbered 1-19 for clarity. The scrapbook cover for #3 is housed in Box 120, and the contents are housed in Box 122.

Appendix: Macbeth Gallery Exhibitions Documented in Scrapbooks:

This chronological list of Macbeth Gallery exhibitions is extensive, but incomplete. While an attempt has been made to establish the accuracy of the information provided here, dates and titles of exhibitions are not guaranteed to be accurate. Most of the exhibitions listed here are documented in the scrapbooks through exhibition catalogs and/or invitations, lists of artwork and news clippings. The list is annotated with AAA microfilm reel and frame numbers to assist researchers in locating material on specific exhibitions.

Scrapbook 1, 1892-1901

Dec. 7-21, 1892 -- Water Colors by American Artists (NMc1: 273-275)

Jan.23-Feb.11, 1893 -- Landscapes in Oil (NMc1: 276-277)

Feb. 27-Mar. 18, 1893 -- Landscapes in Oil by William Keith (NMc1: 278-279)

Mar. 20-Apr. 8, 1893 -- Watercolors by Dutch Artists (NMc1: 281-282)

Nov. 8-29, 1893 -- Second Annual Exhibition of Watercolors by American Artists (NMc1: 283-285)

Dec. 2-16, 1893 -- Drawings in Watercolors and in Black and White by C. R. Grant and Wilson De Meza (NMc1: 287-290)

Jan. 20-Feb. 3, 1894 -- Pictures and Sketches by Anton Mauve (NMc1: 291-292, 311-313)

Feb. 6-17, 1894 -- Paintings by Henry W. Ranger (NMc1: 295-296)

Feb. 23-Mar. 8, 1894 -- Paintings by Gaylord Langston Truesdel (NMc1: 299-300)

Mar. 16-29, 1894 -- Figure Subjects by Seven American Artists (NMc1: 302-303)

Apr. 13-May 6, 1894 -- Landscapes by American Artists (NMc1: 304-305)

Dec. 1-22, 1894 -- Paintings and Drawings by D.A.C. Artz (NMc1: 315-316)

Feb. 2-16, 1895 -- Paintings and Sketches by Theodore Robinson (NMc1: 318-319)

Mar. 15-30, 1895 -- Pictures and Sketches by Anton Mauve (NMc1: 321-323)

Feb. 17-29, 1896 -- Paintings in Oil by Philip Zilcken (NMc1: 329-330)

Mar. 9-21, 1896 -- Paintings by Arthur B. Davies (NMc1: 329-331)

Mar. 6-20, 1897 -- Paintings by Robert C. Minor (NMc1: 343-344)

Apr. 24-May 8, 1897 -- Paintings by Arthur B. Davies (NMc1: 348-349)

Jan. 17-29, 1898 -- Portrait Drawings in Pastel and Chalk by Sergeant Kendall (NMc1: 356-357)

Jan. 31-Feb. 12, 1898 -- Expressions of New England Landscape by Leonard Ochtman (NMc1-358-359)

Jan. 9, 1898 -- Exhibition of Pictures and Sketches by Anton Mauve (NMc1: 362)

Nov. 7, 1898 -- Exhibition of Watercolors by Mr. Ozawa of Tokyo, Japan (NMc1: 363)

Jan. 9-21, 1899 -- Paintings by Willbur A. Reaser (NMc1: 366-367)

Feb. 1-14, 1899 -- Paintings by H. M. Rosenberg (NMc1: 368-369)

Feb. 17-Mar. 9, 1899 -- Paintings by Charles Walter Stetson (NMc1: 370-371)

Jan. 8-20, 1900 -- Twenty-seven Drawings by Childe Hassam (NMc1: 376-377)

Mar. 9-24, 1900 -- Watercolors and Monotypes in Color by Maurice B. Prendergast (NMc1: 379-380)

Nov. 19-Dec. 1, 1900 -- Pictures by Rosina Emmet Sherwood (NMc1: 383-384)

Jan. 21-Feb. 2, 1901 -- Pictures and Portraits by Wilbur A. Reaser (NMc1: 385)

Feb. 25-Mar. 9, 1901 -- Frederick Ballard Williams (NMc1: 394-395)

Feb. 4-16, 1901 -- Landscapes by Alexander H. Wyant and George Inness (NMc1: 390-391)

May 9-31, 1901 -- Paintings by Arthur B. Davies (NMc1: 400-402)

Nov. 29-Dec. 14, 1901 -- Watercolors, Color Prints from Wood Blocks and Etchings Printed in Color by Helen Hyde (NMc1: 405-406)

Scrapbook 2, 1893-1898

Primarily news clippings.

Scrapbook 3, 1902-1910

Feb. 3-15, 1902 -- Private Collection of American Pictures (NMc1: 2-5)

Mar. 17-29, 1902 -- Some Phases of London When the Lamps Are Lighted, Done in Pastel by Fernand Lungren (NMc1: 10-13)

Mar. 31-Apr. 5, 1902 -- Group of Pictures by Sidney Starr (NMc1: 13)

Apr. 1-12, 1902 -- Pictures by Robert Henri (NMc1: 15-16)

Apr. 14-26, 1902 -- Drawings by Jane Erin Emmet (NMc1: 21-22)

Apr. 28-May 11, 1902 -- Landscapes by W. L. Lathrop (NMc1: 20)

Jan 19-31, 1903 -- Drawings and Sketches by Homer D. Martin, 1836-1897 (NMc1: 27)

Jan. 27-Feb. 11, 1905 -- Pictures by William Sartain (NMc1: 37-39)

Feb. 23-Mar. 8, 1905 -- Paintings by Arthur B. Davies (NMc1: 62-64)

May 1-6, 1905 -- Oil Paintings by American Artists from the Macbeth Gallery (at the Galleries of George D. Brodhead, Rochester, NY) (NMc1: 69-72)

Jan 29-Feb. 10, 1906 -- Abbot H. Thayer and Gladys Thayer (NMc1: 77-78)

Feb. 19-Mar. 3, 1906 -- Pictures by Charles H. Davis (NMc1: 79-80)

Mar. 10-24, 1906 -- Stephen Parrish (NMc1: 81-82)

Nov. 9-24, 1906 -- A Group of American Paintings (NMc1: 91-92)

Jan. 11-26, 1907 -- Paintings by William Sartain (NMc1: 100-101)

Feb. 1-16, 1907 -- Paintings by Paul Dougherty (NMc1: 105-106)

Feb. 23-Mar. 9, 1907 -- Paintings by Charles H. Davis (NMc1: 107-108)

Mar. 11-23, 1907 -- Portraits by Ellen Emmet (NMc1: 112-113)

Mar. 28-Apr. 3, 1907 -- Paintings by William Keith (NMc1: 115-117)

Nov. 11-23, 1907 -- Paintings by Augustus Vincent Tack (NMc1: 124-125)

Nov. 27-Dec. 12, 1907 -- Paintings by John La Farge (NMc1: 127-131)

Jan. 6-18, 1908 -- Paintings by Jerome Myers (NMc1: 133-134)

Jan. 20-Feb. 1, 1908 -- Paintings by Paul Dougherty (NMc1: 137-138)

Feb. 3-15, 1908 -- Exhibition of Paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan (NMc:142-143 Catalog missing from scrapbook)

Feb. 19-Mar. 7. 1908 -- Forty Selected Paintings by Living American Artists (NMc1: 147-149)

Mar. 11-24, 1908 -- Paintings by a Group of American Artists (Deceased), Copley to Whistler (NMc1: 151-152)

1908 -- Kwaunon Meditating on Life by John La Farge (NMc1: 155)

Nov. 10-25, 1908 -- Paintings by Howard Pyle (NMc1: 158-159)

Nov. 27-Dec. 10, 1908 -- Paintings by Charles Melville Dewey (NMc1: 161-162)

Dec. 15-31, 1908 -- Bronzes by a Group of American Artists (NMc1: 165-166)

Jan. 7-21, 1909 -- Forty Selected Paintings by Living American Artists (NMc1: 168-169)

Jan. 22-Feb. 4, 1909 -- Paintings by Henry W. Ranger (NMc1: 171-172)

Feb. 5-18, 1909 -- Paintings by Paul Dougherty (NMc1: 176

Feb. 19-Mar. 4, 1909 -- Arthur B. Davies (NMc1: 178)

Mar. 5-Mar. 18, 1909 -- Paintings by Charles H. Davis, N.A. (NMc1: 183-184)

Mar. 19-Apr. 1, 1909 -- A Group of Figure Subjects by Blendon Campbell, Charles W. Hawthorne, Robert Henri, George Luks, Kenneth Miller (NMc1: 186-187)

Apr. 2-15, 1909 -- Paintings by Louis Loeb (NMc1: 188-189)

Apr. 16-29, 1909 -- Paintings by a Group of Boston Artists (NMc1: 191-192)

May 10-22, 1909 -- Paintings by American Artists from the Macbeth Galleries, New York [at Findlay Art Co., Kansas City, MO] (NMc1: 195-197)

Nov. 18-Dec. 4, 1909 -- Paintings by Albert P. Lucas (NMc1: 203-205)

Dec. 7-24, 1909 -- Watercolors and Pastels by American Artists (NMc1: 207-210)

Dec 7-24, 1909 -- Second Annual Exhibition of Bronzes by American Sculptors (NMc1: 211-212)

Jan. 6-19, 1910 -- Sixteen Paintings of the Cornish Coast by Paul Dougherty (NMc1: 213-215)

Jan. 20-Feb. 2, 1910 -- Paintings by Mary Curtis Richardson of San Francisco (NMc1: 218-220)

Jan. 20-Feb. 2, 1910 -- First Exhibition of Paintings by Ben Foster (NMc1: 216-218)

Feb 3-16, 1910 -- Landscapes and Figures by Frederick Ballard Williams (NMc1: 227-229)

Feb. 3-16, 1910 -- Spanish Paintings by F. Luis Mora (NMc1: 225-227)

Feb. 17-Mar. 2, 1910 -- The Fur Jacket by J. McNeill Whistler (NMc1: 231-232)

Feb. 17-Mar. 2, 1910 -- Paintings by William Sartain (NMc1: 233-235)

Mar. 3-16, 1910 -- Fourteen Landscapes by Charles H. Davis (NMc1: 237-239)

Mar. 3-16, 1910 -- Recent Portraits by Cecilia Beaux (NMc1: 239-240)

Mar. 17-30, 1910 -- Paintings by Hermann Dudley Murphy (NMc1: 244-246)

Mar. 17-30, 1910 -- Figure Paintings by Charles W. Hawthorne (NMc1: 242-244)

Mar. 31-Apr. 13, 1910 -- Paintings of Baily's Island by Frederick J. Waugh (NMc1: 249-251)

Mar. 31-Apr. 13, 1910 -- Nineteen Landscapes by Chaucey F. Ryder (NMc1: 247-249)

Apr. 14-27, 1910 -- George B. Luks (NMc1: 253-255)

Apr. 30-May 14, 1910 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc1: 259-262)

Scrapbook 4, 1907-1913

Primarily news clippings.

Scrapbook 5, 1910-1915

Nov. 3-16, 1910 -- Recent Paintings by Charles W. Hawthorne (NMc2: 1-2)

Nov. 17-30, 1910 -- The Navajo Country in Watercolors by Frederick J. McComas (NMc2: 4-6)

Dec. 6-24, 1910 -- Watercolors, Pastels and Small Bronzes (NMc2: 7-14)

Jan. 5-18, 1911 -- Portraits by Ellen Emmet (NMc2: 15-16)

Jan. 19-Feb. 1, 1911 -- Paintings by Henry B. Snell (NMc2: 17-24)

Feb. 2-22, 1911 -- A Group of Thirty Selected Paintings (NMc2: 25-28)

Feb. 23-Mar. 8, 1911 -- A Group of Forty Selected Paintings (NMc2: 29-32)

Mar. 9-22, 1911 -- Paintings by Charles H. Davis, Paul Dougherty, Daniel Garber, William Sartain, F. Ballard Williams (NMc2: 33-35)

Mar. 23-Apr. 5, 1911 -- A Group of Paintings by Ben Foster, Albert L. Groll, Leonard Ochtman, Chauncey F. Ryder, Gardner Symons (NMc2: 36-38)

Apr. 8-22, 1911 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc2: 39-42)

Nov. 16-29, 1911 -- Landscapes, Marines and Wood Interiors by Robert Henri (NMc2: 45-48)

Dec. 6-30, 1911 -- Small Bronzes by American Sculptors (NMc2: 49-52)

Jan. 3-16, 1912 -- Thirty Paintings by Thirty Artists (NMc2: 53-55)

Jan. 17-30, 1912 -- Paintings by Frederick C. Frieseke (NMc2: 56-58)

Jan. 31-Feb. 13, 1912 -- Paintings by Elihu Vedder (NMc2: 59-63)

Feb. 14-Mar. 2, 1912 -- Paintings by Charles H. Davis, Paul Dougherty, Ben Foster, William Sartain, Gardner Symons, F. Ballard Williams (NMc2: 64-66)

Mar. 4-16, 1912 -- Paintings by Emil Carlsen (NMc2: 67-69)

Mar. 6-19, 1912 -- Memorial Exhibition of a Collection of Paintings by Joseph R. Woodwell (NMc2: 71-75)

Mar. 18-30, 1912 -- Paintings by Arthur B. Davies (NMc2: 71, 76)

Apr. 1-10, 1912 -- Paintings by Richard E. Miller (NMc2: 77-79)

Apr. 15-27, 1912 -- A Group of Selected Paintings by American Artists (NMc2: 80-85)

Nov. 4-18, 1912 -- Frederick Ballard Williams (NMc2: 80-97)

Nov. 19-30, 1912 -- First Annual Exhibition of Painters of the Far West (NMc2: 99-103)

Dec. 3-16, 1912 -- Paintings by William Baxter Closson (NMc2: 99, 104)

Dec. 4-16, 1912 -- Marbles and Bronzes by Chester Beach (NMc2: 99, 105-114)

Dec. 30-Jan. 13, 1913 -- Lawrence Mazzanovich (NMc2: 116-119)

Jan 14-27, 1913 -- Paintings by Guy C. Wiggins (NMc2: 120-122)

Jan. 14-27, 1913 -- Paintings by Charles A. Hawthorne (NMc2: 120, 122-124)

Jan. 28-Feb. 10, 1913 -- Paintings by Paul Dougherty (NMc2: 125-127)

Feb. 11-24, 1913 -- Paintings by Gardner Symons (NMc2: 128-130)

Feb. 15-Mar. 1, 1913 -- Annual Exhibition of The Woman's Artclub (NMc2: 131-136)

Feb. 25-Mar. 10, 1913 -- Paintings by F. C. Frieseke (NMc2: 137-138)

Mar. 4-17, 1913 -- Paintings by Charles Morris Young (NMc2: 137-142)

Mar. 11-24, 1913 -- Landscapes by F.K.M. Rehn, N.A. (NMc2: 143-147)

Mar. 18-31, 1913 -- Paintings by John Carlson (NMc2: 148-151)

Mar. 25-Apr. 7, 1913 -- A Selected Group of Paintings (NMc2: 148, 152-154)

Apr. 15-28, 1913 -- A Selected Group of American Paintings (NMc2: 155-158)

Apr. 15-28, 1913 -- Paintings and Pastels by Blendon R. Campbell (NMc2: 155, 159)

Oct. 14-27, 1913 -- Paintings by Katherine S. Dreier (NMc2: 161-163)

Oct. 28-Nov. 10, 1913 -- A Group of Selected Paintings by American Artists (NMc2: 164-166)

Nov. 17-24, 1913 -- Thirty Paintings by Thirty Artists (NMc2: 167-169)

Dec. 2-15, 1913 -- Second Exhibition by the Society of Men Who Paint the Far West (NMc2: 172-176)

Jan. 1914 -- Drawings of Game Birds by Frank W. Benson (NMc2: 179-180)

Jan. 6-19, 1914 -- Paintings by Emil Carlsen, Paul Dougherty, Frederick C. Frieseke, Childe Hassam, Willard L. Metcalf, Kenneth H. Miller, J. Alden Weir (NMc2: 179, 181-183)

Jan. 27-Feb. 16, 1914 -- Recent Sculpture by Chester Beach (NMc2: 185-186)

Jan. 27-Feb. 16, 1914 -- Paintings by Charles H. Davis, Daniel Garber, Richard E. Miller, Chauncey F. Ryder, Gardner Symons (NMc2: 185, 187)

Feb. 17-Mar. 2, 1914 -- Sculpture by Chester Beach, Abastenia St. L. Eberle, Mahonri Young (NMc2: 188-191)

Feb. 17-Mar. 9, 1914 -- A Group of Selected Paintings by American Artists (NMc2: 188, 192-193)

Mar. 10-30, 1914 -- Sketches in Passing by Frederick J. Waugh (NMc2: 195, 208-209)

Mar. 11-30, 1914 -- A Collection of Paintings by Deceased American Artists (NMc2: 195-207)

Mar. 31-Apr. 20, 1914 -- A Group of Selected Paintings by American Artists (NMc2: 212-217)

Apr. 21, 1914 -- A Group of Selected Paintings by American Artists (NMc2: 219-224)

Oct. 27-Nov. 16, 1914 -- A Group of Selected Paintings by American Artists (NMc2: 226-227)

Nov. 17-Dec. 7, 1914 -- Portrait Heads in Terra Cotta by Janet Scudder (NMc2: 233)

Nov. 17-Dec 7, 1914 -- Recent Paintings by Robert Henri (NMc2: 235-237)

Dec. 8-28, 1914 -- Exhibition of Home Pictures (NMc2: 243-247)

Jan. 5-25, 1915 -- A Group of Selected Paintings (NMc2: 243, 248-249)

Jan. 26-Feb. 15, 1915 -- Thirty Paintings by Thirty Artists (NMc2: 251-254)

Jan. 26-Feb. 15, 1915 -- Parisian Sketches by Lester D. Boronda (NMc2: 251)

Feb. 2-15, 1915 -- Our Untrodden Empire: A Collection of Paintings Executed in South Central Alaska by Robert V. Sewell (NMc2: 257-260)

Feb. 16-Mar. 8, 1915 -- Paintings by Deceased American Artists (NMc2: 262, 265)

Feb. 16-Mar. 8, 1915 -- Small Paintings by Guy C. Wiggins (NMc2: 261)

Feb. 16-Mar. 8, 1915 -- Paintings by Colin Campbell Cooper (NMc2: 261-264)

Scrapbook 6, March 1915-January 1918

Mar. 10-30, 1915 -- The Dance As Interpreted in Marble and Bronze by American Sculptors (NMc2: 267)

Mar. 30-Apr. 19, 1915 -- Paintings by Twelve Landscape Painters (NMc2: 274-277)

Sept. 27-Oct. 17, 1915 -- Paintings and Sculpture by Woman Artists for the Benefit of the Woman Suffrage Campaign (NMc2: 279-283)

Oct. 30-Nov. 19, 1915 -- Oils and Water Colors by Hayley Lever; Recent Paintings by Randall Davey (NMc2: 294-296

Dec. 4-31, 1915 -- Third Exhibition of the Society of Men Who Paint the Far West (NMc2: 300, 302-305)

Feb. 1916 -- Decorations by Elmer Mac Rae (NMc2: 318-319)

Jan. 4-18, 1916 -- Recent Paintings by F. C. Frieseke (NMc2: 306-307)

Jan. 4-18, 1916 -- Paintings by John F. Carlson (NMc2: 306, 309-310)

Jan. 19-Feb. 1, 1916 -- Paintings by Emil Carlsen, Helen M. Turner, Daniel Garber (NMc2: 313)

Jan. 19-Feb. 1, 1916 -- Decorative Panels of Flowers, Birds and Animals by F. S. Church (NMc2: 311,317)

Feb. 2-15, 1916 -- Paintings by Jules Guerin (NMc2: 318-321)

Feb. 16-29, 1916 -- Annual Exhibition of Thirty Paintings by Thirty Artists (NMc2: 323-326)

Mar. 1916 -- Group of High Fire Porcelains by Adelaid Alsop Robineau of Syracuse, NY, recently shown at the Panama-Pacific Exposition (NMc2: 322)

Mar. 8-21, 1916 -- Paintings by Charles H. Davis, Paul Dougherty, Kenneth H. Miller, Chauncey F. Ryder, William Sartain (NMc2: 329-330)

Mar. 22-Apr.4, 1916 -- Recent Water Colors by Charles Hovey Pepper (NMc2: 333)

Mar. 22-Apr. 4, 1916 -- Paintings, Drawings and Sculpture by Arthur B. Davies, Walt Kuhn, Jules Pascin (NMc2: 332, 334)

Apr. 6-27, 1916 -- Paintings by American Artists Past and Present (NMc2: 338-341)

Oct. 31-Nov. 13, 1916 -- The Whalers of New Bedford: Paintings by Clifford W. Ashley (NMc2: 346-348)

Oct. 31-Nov. 14, 1916 -- Special Exhibition by Painter Friends (NMc2: 346)

Nov. 14-27, 1916 -- Memorial Exhibition of Paintings by the Late Roger Donoho (NMc2: 349-353)

Nov. 28-Dec. 11, 1916 -- Paintings by Randall Davey (NMc2: 356-357)

Nov. 28-Dec. 11, 1916 -- Paintings by Kenneth Hayes-Miller, Benjamin D. Kopman and J. M. Block (NMc2: 356)

Dec. 13-Jan. 15, 1917 -- Watercolors by Paul Dougherty (NMc2: 358-362)

Jan. 16-Feb. 5, 1917 -- Thirty Paintings by Thirty Artists (NMc2: 366-368)

Feb. 8-26, 1917 -- Loan Exhibition of Paintings by Charles W. Hawthorne (NMc2: 370-379)

Feb. 27-Mar. 12, 1917 -- Paintings by Charles H. Davis, Richard E. Miller, Chauncey F. Ryder (NMc2: 381-382)

Mar. 13-26, 1917 -- Paintings by Arthur Crisp, Florence W. Gotthold, Martha Walter (NMc2: 384-385)

Mar. 28-Apr. 10, 1917 -- Pictures in Tempera of the St. Andrew's Golf Links by William R. O'Donovan (NMc2: 386-387)

Summer, 1917 -- Summer Exhibition (NMc2: 388-391)

Oct. 1917 -- Opening Exhibition of Our Second Quarter-Century (NMc2: 393-396)

Nov. 3-17, 1917 -- Portraits by Louis Betts (NMc2: 400-403)

Nov. 13-26, 1917 -- Paintings by Arthur Crisp, Florence W. Gotthold, Martha Walter (NMc2: 384-385)

Nov. 22-Dec. 5, 1917 -- Paintings and Small Bronzes of New York (NMc2: 407-410)

Dec. 1917 -- Pastels by Lillian Crittenden (NMc2: 411)

Dec. 6-24, 1917 -- Small paintings and Pastels by Frederick C. Frieseke, Nancy M. Ferguson, Lilian Crittenden (NMc2: 411)

Jan. 2-31, 1918 -- In Aid of Men Blinded in Battle: Retrospective Loan Exhibition of Arthur B. Davies (NMc2: 412-416)

Scrapbook 7, February 1918-January 1922

Feb. 5-20, 1918 -- Watercolors by Gifford Beal (NMc2: 433-434)

Feb. 5-20, 1918 -- Intimate Paintings Moderately Priced (NMc2: 435-436)

Mar. 1918 -- Group of Paintings by American Artists (NMc2: 441-442)

Mar. 6-27, 1918 -- Thirty Paintings by Thirty Artists (NMc2: 438-439)

Mar. 27-Apr. 18, 1918 -- Paintings by Charles H. Davis, Ben Foster, Willard L. Metcalf (NMc2: 441, 443-444)

Apr. 18-May 10, 1918 -- Group of Paintings by Charlotte B. Coman (NMc2: 446)

Apr. 19-May 9, 1918 -- Paintings by Emil Carlsen, Childe Hassam, J. Alden Weir (NMc2: 446-447)

Oct. 23-Nov. 13, 1918 -- Opening Exhibition: Group of Selected Paintings (NMc2: 449-451)

Dec. 1918 -- Second Exhibition of Intimate Paintings (NMc2: 453-458)

Jan. 7-29, 1919 -- John H. Twachtman (NMc2: 460-470)

Jan. 27-Feb. 8, 1919 -- Paintings by Charles H. Davis and Paul Dougherty (NMc2: 473-474)

Feb. 17-Mar. 1, 1919 -- Thirty Paintings by Fifteen Artists (NMc2: 476-477)

Mar. 6-22, 1919 -- Paintings by Louis Ritman (NMc2: 480-483)

Mar. 6-29, 1919 -- Thirty Paintings by Thirty Artists (NMc2: 484-491)

Apr. 7-19, 1919 -- Paintings by Felicie Waldo Howell (NMc2: 496-497)

Apr. 7-19, 1919 -- Fifteen American Paintings (NMc2: 499-500)

May 1919 -- Comparative Exhibition of American Paintings (NMc2: 501-506)

Oct. 5-Nov. 8, 1919 -- Fifteen Paintings by Fifteen Artists (NMc2: 510-511)

Nov. 10-Dec. 6, 1919 -- Third Exhibition of Intimate Paintings (NMc2: 512-518)

Dec. 10-31, 1919 -- Loan Exhibition of Paintings by Emil Carlsen (NMc2: 520-527)

Dec. 3-20, 1919 -- Paintings by William Baxter Closson (NMc2: 520)

Jan. 9-31, 1920 -- Thirty Paintings by Thirty Artists (NMc2: 531-536)

Feb. 2-21, 1920 -- Paintings by Charles H. Davis, Frederick C. Frieseke, Richard E. Miller (NMc2: 539-541)

Mar. 20-Apr.10, 1920 -- Paintings by Hayley Lever (NMc2: 542-545)

Apr. 5-24, 1920 -- Group of Paintings by Felicie Waldo Howell (NMc2: 546)

Apr. 5-24, 1920 -- Paintings by Maurice Fromke (NMc2: 546-548)

Oct. 18-Nov. 8, 1920 -- Paintings of the Orient by Hovsep Pushman (NMc2: 550-554)

Oct. 18-Nov. 8, 1920 -- Group of Paintings by Ben Foster, Robert Henri, Hayley Lever, Gardner Symons (NMc2: 555-558)

Nov. 9-29, 1920 -- Paintings by Frank W. Benson and Willard L. Metcalf (NMc2: 559-562)

Nov. 30-Dec. 31, 1920 -- Fourth Exhibition of Intimate Paintings (NMc2: 564-570)

Jan. 3-17, 1921 -- Recent Landscapes by Chauncey F. Ryder (NMc2: 573-576)

Jan. 3-17, 1921 -- Old Salem Doorways Painted Last Summer by Felicie Waldo Howell (NMc2: 577-581)

Jan. 18-Feb. 7, 1921 -- Thirty Paintings by Thirty Artists (NMc2: 583-588)

Feb. 9-28, 1921 -- An American Summer in Watercolors by F. Luis Mora (NMc2: 596-599)

Feb. 9-28, 1921 -- The East Side in Sculpture by Abastenia St. L. Eberle (NMc2: 600)

Feb. 9-28, 1921 -- Recent Paintings by Emil Carlsen (Br14: 623; NMc2: 589-594)

Mar. 1-21, 1921 -- Connecticut Landscapes by Charles H. Davis (NMc2: 603-606)

Mar. 1-21, 1921 -- Paintings of Cornwall and Elsewhere by W. Elmer Schofield (NMc2: 607-610)

Mar. 1-21, 1921 -- Annual Exhibition, Society of Animal Painters and Sculptors (NMc2: 611-616

Mar. 22-Apr. 11, 1921 -- Paintings by F. C. Frieseke and Albert L. Groll (NMc2: 621-624)

Mar. 22-Apr. 11, 1921 -- Paintings by Jonas Lie (NMc2: 617-620)

Mar. 22-Apr. 11, 1921 -- Portraits and Landscapes by Gladys Thayer (NMc2: 625-628)

Apr. 12-May 7, 1921 -- Loan Exhibition of Paintings by J. Francis Murphy, 1853-1921 (NMc2: 629-637)

Oct. 11-30, 1921 -- Opening Exhibition, Season of 1921-1922: Group of Selected Paintings (NMc2: 640-641)

Nov. 1-19, 1921 -- West Indian Marines by Frederick J. Waugh (NMc2: 642-645)

Nov. 21-Dec. 12, 1921 -- Fifth Exhibition of Intimate Paintings (NMc2: 646-655)

Dec. 13-Jan. 2, 1922 -- Paintings of Glacier National Park by Charles Warren Eaton (NMc2: 660, 664-666)

Dec. 13-Jan. 2, 1922 -- Oils, Pastels, and Watercolors by George Alfred Williams (NMc2: 660-663)

Scrapbook 8, January 1922-March 1923

Jan. 3-23, 1922 -- Paintings of South America by E. W. Deming (NMc2: 669-670)

Jan. 3-23, 1922 -- New England Streets by Felicie Waldo Howell (NMc2: 671-674)

Jan. 3-23, 1922 -- California Landscapes by F. Ballard Williams (NMc2: 677-680)

Jan. 24-Feb. 13, 1922 -- Paintings by Elliot Torrey (NMc2: 681-684)

Jan. 24-Feb. 20, 1922 -- Thirty Paintings by Thirty Artists (NMc2: 685-692)

Feb. 14-Mar. 6, 1922 -- Third Annual Exhibition, Society of Animal Painters and Sculptors (NMc2: 694-698)

Mar. 7-27, 1922 -- Paintings by Edmund Greacen (NMc2: 704-707)

Mar. 7-27, 1922 -- Paintings by Gardner Symons (NMc2: 700-705)

Mar. 28-Apr. 17, 1922 -- Paintings by Charles H. Davis (NMc2: 707-717)

Apr. 27-May 20, 1922 -- Paintings by Frederick C. Frieseke Hayley Lever and Malcolm Parcell (NMc2: 721-726)

Apr. 27-May 20, 1922 -- Paintings by Malcolm Parcell (NMc2: 722)

Oct. 31-Nov. 20, 1922 -- Paintings by Alice Worthington Ball (NMc2: 731-735)

Oct. 31-Nov. 20, 1922 -- Recent Paintings and Figure Compositions by Charles W. Hawthorne (NMc2: 731-735)

Nov. 21-Dec. 11, 1922 -- Sixth Exhibition of Intimate Paintings (NMc2: 738-747)

Nov. 21-Dec. 11, 1922 -- George Wharton Edwards (NMc2: 748-749)

Dec. 12-30, 1922 -- Imaginitive Landscapes by W. G. Krieghoff (NMc2: 751-752)

Dec. 12-30, 1922 -- Watercolors of New York by Joseph Pennell (NMc2: 751, 753-755)

Jan. 2-22, 1923 -- Paintings and Studies by Orland Campbell (NMc2: 758-761)

Jan. 2-22, 1923 -- Recent Landscapes by Daniel Garber (NMc2: 758, 762-764)

Jan. 2-22, 1923 -- Decorative Paintings by Spencer Nichols (NMc2: 765, 769)

Jan. 2-22, 1923 -- Figure Compositions by Ivan G. Olinsky (NMc2: 765-768)

Jan. 23-Feb. 12, 1923 -- The Canadian Rockies in Paintings by Belmore Browne (NMc2: 772, 778)

Jan. 23-Feb. 12, 1923 -- Thirty Paintings by Thirty Artists (NMc2: 772-777)

Jan. 23-Feb. 12, 1923 -- Decorative Panels by Felicie Waldo Howell (NMc2: 778-782)

Feb. 13-Mar. 5, 1923 -- Paintings by Ruth A. Anderson and Elizabeth C. Spencer (NMc2: 783, 788-790)

Feb. 13-Mar. 5, 1923 -- Landscapes by Chauncey F. Ryder (NMc2: 783-786)

Feb. 13-Mar. 5, 1923 -- Paintings of the West by Maynard Dixon (NMc2: 783, 787)

Mar. 6-26, 1923 -- Recent Paintings by Emil Carlsen (NMc2: 792-794)

Mar. 12-31, 1923 -- Watercolors by J. Olaf Olson (NMc2: 795-796)

Scrapbook 9, March 1923-December 1924

Mar. 27-Apr. 16, 1923 -- Paintings by John J. Enneking (NMc3: 1-4)

Apr. 17-May7, 1923 -- Paintings by Maurice Braun (NMc3: 5-8)

Apr. 17-May 7, 1923 -- Recent Paintings by Catharine Wharton Morris (NMc3: 5, 9)

Oct. 9-29, 1923 -- Opening Exhibition, Season 1923-1924 (NMc3: 17-22)

Oct. 30-Nov. 19, 1923 -- Paintings by Emil Carlsen, Theodore Robsinson, J. Alden Weir (NMc3: 24-27)

Nov. 20-Dec. 10, 1923 -- Seventh Exhibition of Intimate Paintings (NMc3: 30-35)

Nov. 20-Dec. 11, 1923 -- South American Sketches by Rachel Hartley (NMc3: 37-42)

Dec. 11-31, 1923 -- Scenes about Provincetown by Charles W. Hawthorne; Flowers by Marion C. Hawthorne (NMc3: 37, 43)

Dec. 11-31, 1923 -- Recent Paintings by Douglas Parshall (NMc3: 44)

Dec. 1923 -- Collection of Paintings from the Macbeth Gallery, Halaby Galleries, Dallas (NMc3: 47-54)

Jan. 2-21, 1924 -- Paintings by Robert Henri and Grace Ravlin (NMc3: 56-57)

Feb. 7-25, 1924 -- Thirty Paintings by Thirty Artists (NMc3: 62-68)

Feb. 26-Mar. 17, 1924 -- Paintings by Victor Higgins (NMc3: 68, 72-74)

Feb. 26-Mar. 17, 1924 -- Paintings by Frank Duveneck (NMc3: 68-69)

Mar. 18-Apr. 7, 1924 -- Paintings from Tusayan by Maynard Dixon (NMc3: 76-79)

Apr. 8-28, 1924 -- Paintings of the Orient by Hovsep Pushman (NMc3: 80-82)

Apr. 8-28, 1924 -- The Canadian Rockies in Paintings by Belmore Browne (NMc3: 80, 84)

Sept. 23-Oct. 6, 1924 -- Paintings of the French West Indies by Christiana Moron (NMc3: 86-87)

Oct. 7-27, 1924 -- Selected Group of Paintings by Thirty American Artists (NMc3: 86, 88)

Nov. 4-17, 1924 -- Recent Paintings by Chauncey F. Ryder (NMc3: 90-91)

Nov. 18-Dec. 8, 1924 -- A Group of Paintings by Frederick C. Frieseke (NMc3: 92-93)

Dec. 9-29, 1924 -- Retrospective Exhibition of Paintings by Louis Comfort Tiffany (NMc3: 95-97)

Scrapbook 10, January 1925-November 1927

Dec. 30-Jan. 19, 1925 -- Montauk by Childe Hassam (NMc3: 104-112)

Jan. 20-Feb. 9, 1925 -- George Inness Centennial Exhibition, 1825-1894 (NMc3: 117-123)

Feb. 10-Mar. 2, 1925 -- Water Colors of Egypt and Jerusalem by Taber Sears (NMc3: 126, 129-130)

Feb. 10-Mar.2, 1925 -- The New England Year in Paintings by Charles H. Davis (NMc3: 126-128)

Mar. 3-23, 1925 -- Paintings by E. W. Redfield (NMc3: 131-133)

Mar. 24-Apr. 13, 1925 -- Paintings by Daniel Garber (NMc3: 135-138)

Apr. 14-May 4, 1925 -- Recent Paintings by Robert Henri (NMc3: 140-143)

Apr. 14-May 4, 1925 -- C. W. Hawthorne: Watercolors of Bermuda (NMc3: 139)

Oct. 13-26, 1925 -- Collection of American Masters Loaned for Exhibition (NMc3: 152-154)

Oct. 27-Nov. 16, 1925 -- Memorial Exhibition of Paintings by the Late William Sartain (NMc3: 155-158)

Nov. 7-23, 1925 -- Paintings by Contemporary American Artists Loaned by the Macbeth Galleries, New York, Engaged by the Muncie Art Students' League, Muncie, Indiana (NMc3: 147-148)

Nov. 17-Dec. 7, 1925 -- Paintings by DeWitt and Douglass Parshall (NMc3: 159-162)

Dec. 4-31, 1925 -- Easel Paintings by American Artists, Loaned by Macbeth Galleries to the Springfield Art Association (NMc3: 205, 207)

Dec. 8-Jan. 4, 1926 -- Watercolors by Distinguished American Artists (NMc3: 163-166)

Jan. 5-25, 1926 -- Recent American Portraits (NMc3: 168, 172-173)

Jan. 5-18, 1926 -- American Society of Miniature Painters, 27th Annual Exhibition (NMc3: 168-171)

Jan. 26-Feb. 15, 1926 -- Paintings by Jonas Lie (NMc3: 176-179)

Jan. 26-Feb. 15, 1926 -- First Exhibition of Paintings by John Huffington (NMc3: 176, 180-181)

Feb. 7-Mar. 17, 1926 -- Exhibition of Oil Paintings by American Artists Lent by the Macbeth Galleries to the Utica Public Library Art Gallery (NMc3: 205-206)

Feb. 16-Mar. 8, 1926 -- New Paintings by Charles W. Hawthorne (NMc3: 186-189)

Feb. 16-Mar. 8, 1926 -- Chauncey F. Ryder (NMc3: 184)

Feb. 16-Mar. 8, 1926 -- Sculpture by Gleb Derujinsky (NMc3: 186-189)

Mar. 9-29, 1926 -- Modern Landscapes by Guy Wiggins (NMc3: 191-194)

Mar. 9-29, 1926 -- Etchings and Drawings by Emil Fuchs (NMc3: 191, 195-197)

Mar. 30-Apr. 19, 1926 -- The Affairs of Anatol by Robert Reid (NMc3: 198-201)

Apr. 20-May 3, 1926 -- Pastels Done in Spain by A. Sheldon Pennoyer (NMc3: 202)

June 1-25, 1926 -- Pictures Selected from the Brooklyn Museum Exhibition of the National Association of Women Painters and Sculptors (NMc3: 204)

Summer, 1926 -- Summer Exhibition (NMc3: 199-201)

Oct. 11-18, 1926 -- Paintings Selected by Louis Bliss Gillet (NMc3: 210-212)

Oct. 19-Nov. 8, 1926 -- Paintings by Stanley M. Woodward (Br14: 671; NMc3: 213-214)

Nov. 9-22, 1926 -- Ernest Haskell, 1876-1925, Memorial Exhibition (NMc3: 215-222)

Nov. 23-Dec. 6, 1926 -- Porto Rico and St. Thomas: Exhibition of Paintings by Rachel Hartley (NMc3: 226-229)

Nov. 23-Dec. 6, 1926 -- Recent Landscapes and Marines by Jay H. Connaway (NMc3: 226, 230)

Dec. 1926 -- Watercolors and Etchings by American Artists (NMc3: 231-233)

Dec. 28-Jan. 10, 1927 -- Recent Paintings by a Group of Mystic, Conn., Artists (NMc3: 235-238)

Jan. 11-31, 1927 -- Thirty Paintings by Thirty Artists (NMc3: 239-244)

Jan. 18-31, 1927 -- Watercolors by John Lavalle of Boston (NMc3: 253-255)

Jan. 22-Feb. 7, 1927 -- Crapo Gallery Opening Exhibition: Thirty Paintings by Thirty Artists assembled by Macbeth Gallery at Swain School, New Bedford, Mass. (NMc3: 245-249)

Feb. 1-14, 1927 -- Recent Paintings by Frank W. Benson (NMc3: 259-262)

Feb. 2-14, 1927 -- American Society of Miniature Painters, 28th Annual Exhibition (NMc3: 253, 256-258)

Feb. 8-26, 1927 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc. at Anderson Galleries (Macbeth Gallery one of nine participants (NMc3: 263, 265-271)

Feb. 15-28, 1927 -- New Paintings by Chauncey F. Ryder (NMc3: 278-281)

Mar. 1-14, 1927 -- Watercolors by Aiden L. Ripley (NMc3: 282, 286)

Mar. 1-14, 1927 -- Paintings by a Group of Members of the Guild of Boston Artists (NMc3: 282-285)

Mar. 15-28, 1927 -- Paintings by Malcolm Parcell (NMc3: 287-290)

Mar. 15-28, 1927 -- Recent Pastels of Chartres by Carl Schmidt (NMc3: 287)

Mar. 29-Apr. 18, 1927 -- Thirty-fifty Anniversary Exhibition, Retrospect and Prospective (NMc3: 291-294)

Apr. 19-May 9, 1927 -- Frank A. Brown, Watercolors (NMc3: 296, 302-303)

Aug. 22-Sept. 5, 1927 -- American Art Exhibition arranged for Eastern Long Island by the Macbeth Gallery at Southampton, NY (NMc3: 297-301)

Oct. 18-29, 1927 -- American Art Exhibition, Art League of Fort Worth, Assembeled by the Macbeth Gallery (NMc3: 304, 306-311)

Oct. 18-31, 1927 -- Etchings by Walter Raymond Duff (NMc3: 313-315)

Oct. 18-31, 1927 -- Paintings by Max Bohm (NMc3: 313-315)

Nov. 1-14, 1927 -- Yankee Whalers by Clifford W. Ashley (NMc3: 316-317)

Scrapbook 11, November 1927-June 1930

Nov. 15-28, 1927 -- Paintings of Mallorca by Bernhard Gutmann (NMc3: 319-320)

Nov. 15-28, 1927 -- Paintings of Flowers by Carle J. Blenner (NMc3: 319, 321)

Nov. 29-Dec. 12, 1927 -- The Bathers , Paintings by William S. Horton (NMc3: 322-325)

Nov. 29-Dec. 12, 1927 -- Sidewalks of New York, Chalk Drawings by H. Devitt Welsh (NMc3: 326-327)

Dec. 13-31, 1927 -- Joint Exhibition of Paintings by Daniel Garber and Stanley Woodward (NMc3: 328)

Jan. 3-16, 1928 -- Portrait Drawings by Edith Leslie Emmet (NMc3: 329, 331)

Jan. 3-23, 1928 -- Recent Paintings by Jonas Lie (NMc3: 329-330)

Jan. 24-Feb. 13, 1928 -- Watercolors by John Lavalle (NMc3: 332-334)

Jan. 24-Feb. 13, 1928 -- Walter Ufer: Pictures from Taos (NMc3: 332, 334)

Jan. 24-Feb. 6, 1928 -- American Society of Miniature Painters, 29th Annual Exhibition (NMc3: 337-340)

Feb. 7-21, 1928 -- Small Pictures of Mountain and Sea by Jay Connaway (NMc3: 342)

Feb. 14-27, 1928 -- The Canadian Rockies by Belmore Brown (NMc3: 342-343)

Feb. 14-27, 1928 -- Sculpture by Gleb Derujinsky (NMc3: 342-344)

Feb. 21-Mar. 5, 1928 -- Watercolors of Venice, Spain and Brittany by Frank A. Brown (NMc3: 351-356)

Feb. 21-Mar. 10, 1928 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc., at Anderson Galleries; Macbeth Gallery one of sixteen participants (NMc3: 346-352)

Feb. 25-Mar. 17, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at Grand Rapids Art Gallery (NMc3: 385-387)

Feb. 28-Mar. 12, 1928 -- Paintings by Frank L. Schenk, 1856-1927 (NMc3: 357-358)

Feb. 28-Mar. 19, 1928 -- Thirty Paintings by Thirty Artists (NMc3: 357, 359-363)

Mar. 20-Apr. 2, 1928 -- Lanscapes of Italy by A. Sheldon Pennoyer (NMc3: 366, 368)

Mar. 20-Apr. 9, 1928 -- Recent Landscapes, Switzerland and Other Subjects by Carl Lawless (NMc3: 366-367)

Apr. 2-15, 1928 -- Water Colors by Earl Winslow (NMc3: 355)

Apr. 10-30, 1928 -- St. Ives by Hayley Lever (NMc3: 369)

Apr. 29-May 20, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at the University of Wyoming (NMc3: 385-386)

Spring, 1928 -- American Painting for Home Decoration (NMc3: 370-377)

Oct. 16-29, 1928 -- The Canadian Rockies in Watercolors by J. Olaf Olson (NMc3: 389-392)

Nov. 7-24, 1928 -- Etchings by Sears Gallagher (NMc3: 393)

Nov. 13-26, 1928 -- Sand Dunes and Flowers by Frederick Lowell (NMc3: 393-394)

Nov. 26-Dec. 17, 1928 -- Etchings by Carlton T. Chapman (NMc3: 395)

Nov. 27-Dec. 10, 1928 -- Portraits by Ernest L. Ipsen (NMc3: 396-397)

Dec. 4-31, 1928 -- Etchings by Margery A. Ryerson (NMc3: 395)

Dec. 11-24, 1928 -- Landscapes in Watercolor and Gouache by H. Anthony Dyer and Character Studies in Watercolor and Pastel by Nancy Dyer (NMc3: 398-400)

Jan. 2-14, 1929 -- Figures and Landscapes by the Late J. Alden Weir, 1852-1929 (NMc3: 401-402)

Jan. 15-28, 1929 -- Paintings by H. Dudley Murphy; Watercolors by Nellie Littlehale Murphy (NMc3: 404-405)

Jan. 15-28, 1929 -- Portraits by William James (NMc3: 406-407)

Feb. 4-18, 1929 -- Twenty-five Etchings by Harold Denison (NMc3: 410, 416-417)

Feb. 5-18, 1929 -- Paintings by Emil Carlsen and Dines Carlsen (NMc3: 408-409)

Feb. 19-Mar. 4, 1929 -- Thirty Paintings by Thirty Artists (NMc3: 410-415)

Mar. 5-18, 1929 -- Marine Paintings by Stanley W. Woodward (NMc3: 419-423)

Mar. 19-Apr. 1, 1929 -- Watercolors by Frederick C. Frieseke (NMc3: 424-425)

Mar. 19-Apr. 1, 1929 -- Pastels of Louisiana by Will H. Stevens (NMc3: 424)

Apr. 1929 -- Paintings by Childe Hassam (NMc3: 433-438)

Apr. 2-15, 1929 -- Paintings by Arthur Meltzer (NMc3: 431)

Apr. 2-15, 1929 -- Watercolors by Earle B. Winslow (NMc3: 431)

June, 1929 -- Old Mill Afternoon by Childe Hassam, Ainslie Galleries, Inc., Detroit in collaboration with Macbeth Gallery (NMc3: 465-467)

Oct. 1-14, 1929 -- Portraits in Oil and Pastel by Paul Swan (NMc3: 472-473)

Oct. 15-28, 1929 -- Exhibitions from the Summer Colonies: No. 1, Lyme (NMc3: 476-477)

Oct. 19-29, 1929 -- Milch-Macbeth Exhibition of Prints and Paintings by American Artists at the High Museum under the auspices of the Atlanta Art Association (NMc3: 462)

Oct. 20-Nov. 11, 1929 -- Memorial Exhibition of Paintings by John Huffington (NMc3: 476-479)

Nov. 12-25, 1929 -- Exhibition from the Summer colonies: No. 2, Selections from the North Shore Arts Association of Gloucester (NMc3: 480-481)

Nov. 26-Dec. 3, 1929 -- Recent Landscapes by Charles H. Davis (NMc3: 482-483)

Dec. 10-Dec. 23, 1929 -- Watercolors by J. Olaf Olson (NMc3: 484-486)

Dec. 24-Jan. 6, 1930 -- Exhibitions from the Summer Colonies: No. 3, Mystic (NMc3: 487-488)

Jan. 7-20, 1930 -- Paintings of Wyoming Days and Nights by Ogden N. Pleissner (NMc3: 490, 492)

Jan. 21-Feb. 3, 1930 -- Landscapes by Aldro T. Hibbard (NMc3: 490-491)

Feb. 4-17, 1930 -- Thirty Paintings by Thirty Artists (NMc3: 493-498)

Feb. 4-18, 1930 -- Monotypes in Black and White by Seth Hoffman (NMc3: 500-502)

Feb. 18-Mar. 3, 1930 -- Decorative Pastels by Wilbur A. Reaser (NMc3: 503-504)

Feb. 18-Mar. 3, 1930 -- Landscapes by John F. Carlson (NMc3: 503, 505

Mar. 4-17, 1930 -- Art of the Cartoon by Clare A. Briggs (NMc3: 507)

Mar. 4-17, 1930 -- Watercolors by Gladys Brannigan (NMc3: 507)

Mar. 18-31, 1930 -- Landscapes by Chauncey F. Ryder (NMc3: 508-509)

Apr. 1-14, 1930 -- Landscapes by Harry Leith-Ross (NMc3: 510-511)

Apr. 15-29, 1930 -- The Soviet Union as Seen by Eliot O'Hara (NMc3: 512-513)

Spring 1930 -- Spring/Summer Exhibition (NMc3: 514-516)

Scrapbook 12, September 1930-December 1932

Oct. 1930 -- Opening Exhibition, 1930-1931 Season (NMc3: 517-519)

Oct. 14-Nov. 4, 1930 -- Etchings by Thomas Handforth (NMc3: 523-524)

Nov. 1930 -- Paintings of Museum Importance (NMc3: 521)

Nov. 4-25, 1930 -- Monotypes in Black and White by Seth Hoffman (NMc3: 522, 524

Dec. 1930 -- Paintings by Young Americans (NMc3: 525)

Dec. 1930 -- Etchings and Lithographs by Edward Haskell (NMc3: 526-527)

Jan. 6-31, 1931 -- Brittany and Other Recent Paintings by Jonas Lie (NMc3: 528-531)

Feb. 2-8, 1931 -- Group Exhibition of Important Paintings (NMc3: 535)

Feb. 9-21, 1931 -- Brackman (NMc3: 536)

Feb. 24-Mar. 7, 1931 -- Paintings by Paul Dougherty and Mahonri Young (NMc3: 539)

Mar. 9-28, 1931 -- Recent Paintings by Daniel Garber (NMc3: 540)

Mar. 30-Apr. 11, 1931 -- Brittany Subjects by Jay Connaway, Landscapes by Arthur Meltzer, Pastel Impressions by J. H. Guest (NMc3: 545-549)

Apr. 13-May 2, 1931 -- Paintings and Drawings by Abbot H. Thayer (NMc3: 545-549)

May, 1931 -- Selected Paintings and Etchings by American Artists (NMc3: 552-553)

Oct. 1931 -- October Show (NMc3: 355)

Oct. 1931 -- October Watercolor Exhibition (NMc3: 556)

Nov. 4-30, 1931 -- Fifteen New Paintings from the Artists Studios (NMc3: 558-559)

Nov. 11-Dec. 31, 1931 -- Lithographs by Stow Wengenroth (NMc3: 560-566)

Dec. 1-19, 1931 -- Small Paintings by Ivan Olinsky and Cecil Chichester (NMc3: 562-563)

Dec. 8-31, 1931 -- Wood Engravings by Thomas Nason (NMc3: 564)

Dec. 21-Jan. 9, 1932 -- Maine Coast Towns by C. K. Chatterton (NMc3: 565-566)

Jan. 11-23, 1932 -- Landscapes, Figures, Still Life Subjects Painted in Vermont by Herbert Meyer (NMc3: 564)

Jan. 11-23, 1932 -- Paintings by Lily Cushing (NMc3: 569, 571)

Jan. 25-Feb. 13, 1932 -- Hudson River School (NMc3: 573-576)

Feb. 15-27, 1932 -- Paintings by James Chapin (NMc3: 589)

Feb. 15-Mar. 1, 1932 -- Monotypes in Black and White by Seth Hoffman (NMc3: 590-591)

Feb. 29-Mar. 10, 1932 -- Sanford Ross: 16 Wash Drawings of 16 New Jersey Landmarks (NMc3: 598-599)

Feb. 29-Mar. 12, 1932 -- George Fuller, 1822-1844 (NMc3: 593-596)

Mar. 14-26, 1932 -- Winter Landscapes and Other Subjects by F. C. Frieseke (NMc3: 600-601)

Mar. 28-Apr. 9, 1932 -- Recent Paintings by Jonas Lie (NMc3: 603)

Apr. 11-30, 1932 -- Forty Years of American Art (NMc3: 605-610)

May 2-14, 1932 -- Paintings by a Group of Younger Artists (NMc3: 616-618)

June 1932 -- June Exhibition (NMc3: 619)

Sept. 26-Oct. 15, 1932 -- Paintings from the Summer Colonies (NMc3: 621-622)

Oct. 17-Nov. 7, 1932 -- Special Sale Exhibition (NMc3: 626-628)

Oct. 17-Nov. 7, 1932 -- Etchings and Lithographs by Mons Breidvik (NMc3: 626-627)

Nov. 9-26, 1932 -- Paintings by Max Bohm, Eugene Higgins, Jerome Myers, John Noble (NMc3: 630)

Nov. 14-Dec. 5, 1932 -- Lithographs by Stow Wengenroth (NMc3: 630)

Nov. 29-Dec. 12, 1932 -- Vermont Watercolors by Henry Holt (NMc3: 632-633)

Dec. 6-19, 1932 -- Lights of New York by Felicie Waldo Howell (NMc3: 634-635)

Dec. 14-Jan. 3, 1933 -- Paintings by Robert Strong Woodward (NMc3: 636)

Scrapbook 13, 1932

Scrapbook of 40th Anniversary of Macbeth Gallery, 1932.

Scrapbook 14, 1930-1934

Jan. 1-29, 1933 -- Forty Years of American Painting assembled by the Macbeth Gallery at Montclair Art Museum (NMc4: 263-268)

July 9-25, 1933 -- American Landscapes assembled by the Macbeth Gallery at Four Fountains, Southampton, NY (NMc4: 290-295)

Scrapbook 15, January 1933-February 1935

Jan. 1933 -- Watercolors Made by Americans, Assembled by the College Art Association (NMc3: 639-641)

Jan. 3-16, 1933 -- Drawings by J. Louis Lundean (NMc3: 643)

Jan. 17-30, 1933 -- Paintings of Flowers by C. G. Nelson (NMc3: 644)

Jan. 31-Feb. 13, 1933 -- Intimate Paintings (NMc3: 645)

Feb. 21-Mar. 6, 1933 -- Group Exhibition (NMc3: 646)

Mar. 1933 -- Paintings and Etchings by Living American Artists (NMc3: 647-648)

Mar. 7-20, 1933 -- Paintings by Robert Henri (NMc3: 649)

Mar. 21-Apr. 3, 1933 -- Watercolors by Sanford Ross (NMc3: 652)

Mar. 21-Apr. 10, 1933 -- Brackman (NMc3: 652-653)

Apr. 4-17, 1933 -- Opportunity Exhibition (NMc3: 661)

Apr. 4-18, 1933 -- Drawings by Adolf Dehn (NMc3: 661)

Apr. 11-24, 1933 -- The Sea at Monhegan by Jay Connaway (NMc3: 662)

Apr. 18-May 1, 1933 -- Watercolor Exhibition (NMc3: 663)

Apr. 25-May 8, 1933 -- Paintings by A. T. Hibbard, Hayley Lever and Ivan G. Olinsky (NMc3: 664)

May 2-22, 1933 -- Mono-Etchings by Bernard Sanders (NMc3: 664)

May 9-29, 1933 -- Child Portraits by Margery Ryerson (NMc3: 669)

May 16-29, 1933 -- Exhibition of Figures and Still Lifes, Macbeth Gallery Extension (NMc3: 669)

June 1933 -- American Art Past and Present (NMc3: 671)

Oct. 17-30, 1933 -- Paintings and Watercolors by a Group of American Artists Under 35 (NMc3: 672)

Oct. 31-Nov. 13, 1933 -- Drawings by Robert Henri (NMc3: 673)

Oct.-Nov. 1933 -- Mexico as Seen by American Printmakers (NMc3: 674)

Nov. 4-27, 1933 -- Brackman Portraits: Figures in Pastel (NMc3: 675, 678)

Nov. 4-27, 1933 -- American Sport and Other Subjects by Percy Crosby (NMc3: 675-677)

Nov. 28-Dec. 11, 1933 -- Paintings by Ogden M. Pleissner (NMc3: 684, 686)

Nov. 28-Dec. 11, 1933 -- Figures and Fantacies by Ralph Rowntree (NMc3: 684-685)

Nov. 28-Dec. 11, 1933 -- Paintings by Horace Day (NMc3: 681)

Nov. 28-Dec. 11, 1933 -- Drawings by Jerome Myers (NMc3: 682-683)

Dec. 12-23, 1933 -- Paintings by Janet Scudder (NMc3: 687)

Dec. 12-23, 1933 -- The New York Scene in Watercolor by Hamilton A. Wolf (NMc3: 688-689)

Dec. 26-Jan. 8, 1934 -- Group Exhibition, Members of the Louis Comfort Tiffany Foundation (NMc3: 692)

Jan. 9-27, 1934 -- Paintings by Herbert Meyer (NMc3: 692)

Jan. 24-Feb. 6, 1934 -- Oils, Watercolors, Drawings, Etchings by Harrison Cady (NMc3: 696-697)

Jan. 30-Feb. 19, 1934 -- Paintings and Drawings by Lintott (NMc3: 699-700)

Feb. 20-Mar. 12, 1934 -- Paintings by C. K. Chatterton (NMc3: 703-704)

Feb. 27-Mar. 12, 1934 -- Golinkin (NMc3: 707-708)

Mar. 6-20, 1934 -- Drawings by Meyer Bernstein (NMc3: 709)

Mar. 13-36, 1934 -- Paintings by Jonas Lie (NMc3: 710)

Mar. 20-Apr. 2, 1934 -- Watercolors of South America by Eliot O'Hara (NMc3: 712)

Mar. 27-Apr. 16, 1934 -- Memorial Exhibition, Paintings by Charles H. Davis, 1856-1933 (NMc3: 715-722)

Apr. 3-16, 1934 -- Drawings by Hetty Beatty, Sculptor (NMc3: 726)

Apr. 10-23, 1934 -- Oils and Watercolors by Gertrude Schweitzer (NMc3: 726)

Apr. 17-May 1, 1934 -- Monhegan Marines by Jan Connaway (NMc3: 727)

May 1-14, 1934 -- Watercolors and Pastels by H. Amaird Oberteuffer and Karl Oberteuffer (NMc3: 728)

May 1-21, 1934 -- Review of the Season (NMc3: 729)

May 7-14, 1934 -- Paintings by John C. E. Taylor, William Luther King, Stuyvesant van Veen (NMc3: 730)

May 1934? -- Third Exhibition and Sale of American Paintings at $100 (NMc3: 731)

June 4-15, 1934 -- Our Glorious Navy: Paintings by Arthur Beaumont, Lieut. U.S.N.R. (NMc3: 732-733)

Oct. 1-15, 1934 -- Opening Exhibition, Season of 1934-1935, Paintings by Nelson A. Moore, 1924-1902 (NMc3: 735-736)

Oct. 16-30, 1934 -- Collectors Examples of American Painting (NMc3: 739-740)

Nov. 7-19, 1934 -- Greenland and Other Subjects by Rockwell Kent (NMc3: 742-743)

Nov. 20-Dec. 3, 1934 -- Southern New Mexico: Drawings and Lithographs by Peter Hurd (NMc3: 748-749)

Nov. 20-Dec. 11, 1934 -- Brackman (NMc3: 742-743)

Dec. 4-31, 1934 -- Lithographs and Drawings of Stow Wengenroth (NMc3: 750)

Dec. 11-31, 1934 -- Robert Hallowell, Mostly Portraits (NMc3: 751-752)

Jan. 2-14, 1935 -- Leopold Seyffert, Subjects from Guatemala and Flowers (NMc3: 754-755)

Jan. 22-Feb. 4, 1935 -- Group of Paintings by Younger Artists (NMc3: 756)

Apr. 10-30, 1935 -- After St. Ives by Hayley Lever (NMc3: 761-762)

date unknown -- Mr. Jonas Lie: Brittany and Other Recent Paintings (NMc3: 764)

Sept. 30-Oct. 7, 1930 -- Watercolors by Carolyn G. Bradley and Marion L. Simmons (NMc3: 764-765)

March 28-April 19, 1932 -- Small Paintings of Museum Importance on Exhibition (NM3: 764-767)

Scrapbook 16, February 1935-January 1938

Feb. 5-19, 1935 -- Robert Strong Woodward, "Landscapes of New England" (NMc4: 401-402)

Feb. 19-28, 1935 -- Portraits by Leonebel Jacobs (NMc4: 404)

Mar. 5-18, 1935 -- Loan Exhibition (NMc4: 408-409)

Apr. 23-May 13, 1935 -- Still Lifes by Emil Carlsen, 1853-1932 (NMc4: 411-413)

May 14-June 3, 1935 -- Watercolors and Pastels (NMc4: 414)

Summer 1935 -- Summer Exhibition (NMc4: 415)

Oct. 8-21, 1935 -- Recent Paintings by Frederick C. Frieseke (NMc4: 416-417)

Nov. 19-Dec. 3, 1935 -- Drawings by Lintott (NMc4: 418-419)

Dec. 3-31, 1935 -- Drawings and Lithographs by Stow Wengenroth (NMc4: 420)

Dec. 9-31, 1935 -- Oils, Watercolors, Drawings by Gertude Schweitzer (NMc4: 421)

Jan. 14-Feb. 3, 1936 -- Herbert Meyer (NMc4: 422-423)

Feb. 1936 -- Group Exhibition (NMc4: 429)

Feb. 1936 -- Drawings by Eastman Johnson (NMc4: 430)

Feb. 4-17, 1936 -- Homer D. Martin, 1836-1897, Centennial Exhibition (NMc4: 426-427)

Mar. 10-23, 1936 -- Contemporary Americans (NMc: 430)

Mar. 10-23, 1936 -- Watercolors by Steven Donahos (NMc4: 430)

Mar. 24-Apr. 16, 1936 -- Brackman (NMc4: 431)

Apr. 7-27, 1936 -- Paintings and Watercolors by C. K. Chatterton (NMc4: 433-434)

Apr. 28-May 11, 1936 -- Group Exhibition (NMc4: 435)

Apr. 28-May 11, 1936 -- Watercolors by Mary S. Powers (NMc4: 435)

May 19-June 1, 1936 -- Drawings by Richard Guggenheimer (NMc4: 436)

May 27-June 3, 1936 -- Pastel Portraits by Frank Root McCreery (NMc4: 437-438)

Oct. 5-26, 1936 -- Opening Exhibition, 45th Season, New Paintings by Fourteen American Painters (NMc4: 447-448)

Nov. 4-16 1936 -- Paintings by Elliot Orr (NMc4: 444-445)

Nov. 17-30, 1936 -- Recent Paintings by Ogden M. Pleissner (NMc4: 447-448)

Dec. 1936 -- Lester D. Boronda: Paintings from Mason's Island (NMc4: 449)

Dec. 15, 1936-Jan. 18, 1937 -- An Introduction to Homer (NMc4: 451-460)

Jan. 19-Feb. 1, 1937 -- Exhibition of Portraits by Stuart, Copley, West, Allston, Badger, Jarvis, Morse, Sully, Peale, Smibert and Waldo (NMc4: 478-479)

Jan. 19-Feb. 1, 1937 -- Group of Watercolors (NMc4: 480)

Feb. 2-15, 1937 -- John C. E. Taylor: Flower Arrangements and Other Oils (NMc4: 481)

Feb. 16-Mar. 1, 1937 -- Paintings and Watercolors by Horace Day (NMc4: 482)

Mar. 2-15, 1937 -- Hayley Lever, Paintings New and Old (NMc4: 485)

Mar. 2-15, 1937 -- Paintings by Josef Presser (NMc4: 485)

Mar. 16-Apr. 5, 1937 -- Recent Work by Jon Corbino (NMc4: 487-490)

Apr. 13-26, 1937 -- Memorial Exhibition of Paintings, Crayon Drawings and Dry Points by the late Alexander Shilling (NMc4: 499)

Apr. 30-May 17, 1937 -- Edna Reindel (NMc4: 503)

Oct. 5-19, 1937 -- American Paintings Dedicating the Art Gallery Woman's Club Art Building, Montana State University (NMc4: 505-514)

Oct. 6-18, 1937 -- Opening Exhibition, Paintings by a Group of Contemporary Artists (NMc4: 517)

Oct. 19-Nov. 1, 1937 -- First Exhibition, Watercolors by Andrew Wyeth (NMc4: 518-519)

Nov. 2-15, 1937 -- Marine and Other Subjects from the Canary Islands by Cadwallader Washburn (NMc4: 524-525)

Nov. 16-29, 1937 -- Paintings by Lorenzo James Hatch (NMc4: 524-525)

Nov. 30-Dec. 14, 1937 -- Monhegan Island, Maine, Marines by Jay Connaway (NMc4: 527)

Jan. 4-17, 1938 -- "The Eight" Thirty Years Later (NMc4: 529-530)

Scrapbook 17, January 1938-July 1941

Jan. 18-Feb. 1, 1938 -- Paintings by Dale Nichols (NMc4: 538-540)

Feb. 8-21, 1938 -- Vermont in Watercolors by Stanford Stevens (NMc4: 541-542)

Feb. 8-21, 1938 -- Modern American Interior: Prizewinning Design and Selected Drawings from a Competition Sponsored by James H. Blauvet and Associates, Interior Designers (NMc4: 543)

Feb. 23-Mar. 7, 1938 -- Herbert Dickens Ryman (NMc4: 546)

Mar. 1-14, 1938 -- Paintings and Watercolors by Anne Goldthwaite (NMc4: 546-547)

Mar. 8-21, 1938 -- Recent Watercolors of Woodstock, Charleston, New England by John W. Taylor (NMc4: 548-549)

Mar. 22-Apr. 11, 1938 -- Jon Corbino (NMc4: 554-561)

Apr. 12-25, 1938 -- Paintings by Ohio Artists (NMc4: 580-571)

Apr. 26-May 9, 1938 -- Paintings by Furman Joseph Finck (NMc4: 572-573)

May-June 1938 -- Winslow Homer: Watercolors and Early Oils from the Estate of Mrs. Charles S. Homer and Other Sources (NMc4: 574-579)

Oct. 4-28, 1938 -- Opening Exhibition (NMc4: 581)

Nov. 1-23, 1938 -- Dale Nichols, Watercolors and Tempera of Alaskan Subjects (NMc4: 582-583)

Nov. 29-Dec. 19, 1938 -- Sea Island Country Watercolors by Horace Day (NMc4: 584)

Jan. 10-30, 1939 -- Herbert Meyer (NMc4: 588-589)

Feb. 7-27, 1939 -- American Watercolors Past and Present (NMc4: 592-597

Mar. 7-Apr. 3, 1939 -- Monhegan by Jay Connaway (NMc4: 602-603)

Apr. 5-24, 1919 -- Oils and Watercolors by Ogden M. Pleissner (NMc4: 606-607)

May 2-22, 1939 -- Paintings by Francis Chapin, Antonio P. Matino, and Moses Soyer and Drawings by Jon Corbino (NMc4: 609-611)

Oct. 10-30, 1939 -- Andrew Wyeth (NMc4: 614)

Nov. 1-30, 1939 -- Americana Paintings, Watercolors, Prints, Drawings (NMc4: 616-617)

Dec. 5-30, 1939 -- In the Georges Islands, Maine: Paintings by N.C. Wyeth (NMc4: 618)

Dec. 5-30, 1939 -- Dry Brush Drawings by Stow Wengenroth (NMc4: 618-619)

Jan. 2-27, 1940 -- Brackman (NMc4: 623-624)

Jan. 30-Feb. 19, 1940 -- Paintings by Moses Soyer (NMc4: 630-631)

Feb. 20-Mar. 11, 1940 -- Watercolors by Emil J. Kosa, Jr. (NMc4: 637)

Mar. 12-30, 1940 -- Paintings by Edna Reindel (NMc4: 636)

April 1940 -- Paintings and Drawings by Jon Corbino (NMc4: 639-640)

May 7-18, 1940 -- "Star Boat Races," by Gerald Foster (NMc4: 640)

Summer 1940 -- Summer Exhibition (NMc4: 641)

Oct. 1940 -- October Exhibition (NMc4: 642)

Nov. 12-Dec. 2, 1940 -- Paintings by Antonio P. Martino (NMc4: 645)

Dec. 10-30, 1940 -- Monhegan Paintings and Sketches by Jay Connaway (NMc4: 648)

Dec. 31, 1940-Jan. 13, 1941 -- Oils and Watercolors by Contemporary Artists (NMc4: 649)

Jan. 14-Feb. 3, 1941 -- Paintings and Drawings by Augustus Vincent Tack (NMc4: 650-651)

Feb. 4-24, 1941 -- Recent Paintings by Peter Hurd (NMc4: 652)

Feb. 18-Mar. 3, 1941 -- Earl Gross Watercolors (NMc4: 654-655)

Feb. 25-Mar. 16, 1941 -- Recent Paintings by Herman Maril (NMc4: 656-657)

Mar. 18-Apr. 5, 1941 -- Joseph de Martini Gouache Paintings (NMc4: 656)

Mar. 25-Apr. 7, 1941 -- Men of Moment: Drawings by Ivan Opffer (NMc4: 660)

Apr. 8-28, 1941 -- Paintings by Orland Campbell (NMc4: 661-662)

Apr. 29-May 12, 1941 -- Small Paintings by Moses Soyer (NMc4: 667-668)

May 1941 -- Group Exhibition (NMc4: 667)

May 13-24, 1941 -- The 1941 Showing of Blauvelt Interiors (NMc4: 669-671)

May-June 1941 -- Group Exhibition (NMc4: 669)

Scrapbook 18, July 1941-October 1945

Sept. 1941 -- Group Exhibition: Oils (NMc4: 682)

Oct. 7-27, 1941 -- Third Exhibition of Watercolors by Andrew Wyeth (NMc4: 685)

Oct. 28-Nov. 17, 1941 -- Recent Oils and Watercolors by Ogden M. Pleissner (NMc4: 685-686)

Oct. 28-Nov. 17, 1941 -- Watercolors by Merrill A. Bailey (NMc4: 685)

Nov. 18-Dec. 1, 1941 -- Drawings and Watercolors by Carl Newland Werntz (NMc4: 688-689)

Nov. 18-Dec. 1, 1941 -- Hymn to the Sun: A Sculpture in Bronze by Emily Winthrop Miles (NMc4: 688)

Dec. 1941 -- Group Exhibition (NMc4: 690)

Dec. 2-22, 1941 -- Original Dolls by Edith Flack Ackley and their Portraits in Watercolor by Telka Ackley (NMc4: 690)

Jan. 5-24, 1942 -- Paintings by Furman Joseph Finck (NMc4: 694)

Jan. 5-24, 1942 -- Watercolors of Maine and Florida by Maurice Becker (NMc4: 694-695)

Jan. 19-Feb. 14, 1942 -- Watercolors, Pastels, Drawings by Jerome Myers, 1867-1940 (NMc4: 696)

Feb. 16-28, 1942 -- Watercolors by Cory Kilvert (NMc4: 697-698)

Feb. 16-Mar. 7, 1942 -- Paintings by Deceased American Masters (NMc4: 697-698)

Mar. 9-28, 1942 -- Paintings by Marsden Hartley (NMc4: 700-701)

Mar. 9-28, 1942 -- Watercolors by Karl Mattern (NMc4: 700)

Apr. 13-30, 1942 -- Fiftieth Anniversary Exhibition, 1892-1942 (NMc4: 703-704)

May 4-29, 1942 -- Group Exhibition (NMc4: 707)

June 1942 -- June Exhibition (NMc4: 708)

June 15-27, 1942 -- War Bond Exhibitions of Contemporary American Art (NMc4: 708)

Sept. 1942 -- September Exhibition (NMc4: 709)

Nov. 16-28, 1942 -- Watercolors by Jean Paul Slusser (NMc4: 710)

Nov. 24-Dec. 12, 1942 -- T. Chambers, First American Modern (NMc4: 711-714)

Dec. 1-14, 1942 -- Watercolors by Red Robin (NMc4: 715-716)

Dec. 15, 1942-Jan. 2, 1943 -- Leaves From a Soldier's Sketchbook by Pvt. Olin Dows, U. S. Army (NMc4: 717)

Jan. 4-23, 1943 -- Paintings by Sprinchorn (NMc4: 717-718)

Feb. 1-13, 1943 -- Group Exhibition (NMc4: 719)

Feb. 15-Mar. 6, 1943 -- Small Paintings by Moses Soyer (NMc4: 720)

Mar. 15-27, 1943 -- Ellen du Pont Wheelwright (NMc4: 721)

Mar. 15-27, 1943 -- Watercolors by Cory Kilvert (NMc4: 721)

Mar. 29-Apr. 17, 1943 -- Recent Paintings by Joseph De Martini (NMc4: 722)

Mar. 29-Apr. 17, 1943 -- Watercolor Exhibition (NMc4: 722)

Apr. 19-May 1, 1943 -- Corp. Herman Maril (NMc4: 728)

Apr. 19-May 8, 1943 -- Theodore Robinson (NMc4: 723-725)

May-June 1943 -- Group Exhibition (NMc4: 729)

Sept. 1943 -- Group Exhibition (NMc4: 731)

Oct. 11-30, 1943 -- Watercolors by Henry Gasser (NMc4: 723-733)

Nov. 1-20, 1943 -- Tempera and Watercolors by Andrew Wyeth (NMc4: 735-736)

Nov. 22-Dec. 4, 1943 -- Portraits of Children by Barnard Lentott (NMc4: 741-742)

Dec. 1943 -- Group Exhibition (NMc4: 741)

Dec. 6-24, 1943 -- Rural Vermont: Watercolors by Sylvia Wright (NMc4: 743-744)

Jan. 3-15, 1944 -- Watercolors of War by Red Robin (NMc4: 743-744)

Jan. 31-Feb. 19, 1944 -- Loan Exhibition, Worthington Whittredge, 1825-1910 (NMc4: 745-746)

Feb. 21-Mar. 11, 1944 -- Paintings by Constance Richardson (NMc4: 749-750)

Mar. 13-Apr. 1, 1944 -- Watercolors by Vanessa Helder (NMc4: 751, 753)

Mar. 13-Apr. 1, 1944 -- Temperas and Watercolors by Peter Hurd (NMc4: 751-753)

Apr. 3-22, 1944 -- American Paintings of the Early 19th Century (NMc4: 754-755)

Apr. 24-May 13, 1944 -- Brackman (NMc4: 756-757)

May 15-June 3, 1944 -- Two Vermont Artists: Clay Bartlett and Arthur K. D. Healy (NMc4: 758-759)

June 5-24, 1944 -- Women at War by Edna Reindel (NMc4: 760)

July 1944 -- Group Exhibition (NMc4: 762)

Sept. 25-Oct. 15, 1944 -- Group Exhibition (NMc4: 763)

Oct. 16-Nov. 4, 1944 -- Paintings by Felicia Meyer (NMc4: 764-765)

Nov. 15-Dec. 2, 1944 -- The Aleutian Air Force: Paintings by Ogden M. Pleissner (NMc4: 766-767)

Dec. 4-23, 1944 -- Paintings by John W. Taylor (NMc4: 769-770)

Jan. 8-27, 1945 -- Paintings by Carl Gaertner (NMc4: 771-772)

Jan. 29-Feb. 10, 1945 -- Contemporary American Watercolors (NMc4: 772)

Feb. 19-Mar. 10, 1945 -- Paintings and Watercolors by Maurice Becker (NMc4: 773-774)

Mar. 12-31, 1945 -- Some Early 19th Century Americans (NMc4: 777-778)

Apr. 2-21, 1945 -- Paintings by Joseph De Martini (NMc4: 778-779)

Apr. 23-May 12, 1945 -- Gouaches by Herman Maril (NMc4: 781)

Apr. 23-May 12, 1945 -- Paintings by Molly Luce (NMc4: 781-782)

May-June 1945 -- Group Exhibition: Contemporary Oils and Watercolors (NMc4: 783)

July, Sept., 1945 -- Group Exhibition (NMc4: 783)

Oct. 1-7, 1945 -- Group Exhibition (NMc4: 784)

Scrapbook 19, October 1945-November 1949

Oct. 26-Nov. 17, 1945 -- Tempera and Watercolors by Andrew Wyeth (NMc4: 787-788)

Nov. 26-Dec. 15, 1945 -- Marsden Hartley: Paintings and Drawings (NMc4: 791-792)

Dec. 1945 -- Christmas Exhibition (NMc4: 793)

Jan. 7-26, 1946 -- New York in Watercolors by James Lechay (NMc4: 794)

Jan. 28-Feb. 16, 1946 -- Herbert Meyer (NMc4: 795)

Feb. 18-Mar. 19, 1946 -- Ary Stillman (NMc4: 797-798)

Mar. 11-30, 1946 -- Watercolors by Arthur K. D. Haley (NMc4: 800-801)

Apr. 1-20, 1946 -- Albert P. Ryder (NMc4: 802-805)

Apr. 22-May 11, 1946 -- Paintings by Constance Richardson (NMc4: 809-810)

May 13-31, 1946 -- Furman Jospeh Finck (NMc4: 811-812)

June 1946 -- Group Exhibition (NMc4: 813)

July 1946 -- Group Exhibition (NMc4: 813)

Sept. 1946 -- Group Exhibition (NMc4: 814)

Sept. 30-Oct. 19, 1946 -- Gouaches by Charles Schucker (NMc4: 815)

Oct. 2-Nov. 9, 1946 -- Watercolors and Drawings by Olin Dows (NMc4: 816-817)

Nov. 4-30, 1946 -- Ogden M. Pleissner (NMc4: 818)

Dec. 2-28, 1946 -- Oils and Watercolors by Emil J. Kosa, Jr. (NMc4: 819-820)

Jan. 6-26, 1947 -- Carl Gaertner (NMc4: 821-822)

Jan. 27-Feb. 15, 1947 -- Carl Sprinchorn (NMc4: 823)

Mar. 3-22, 1947 -- Dorothy Hoyt (NMc4: 825-826)

Mar. 24-Apr. 12, 1947 -- Joseph De Martini (NMc4: 827-828)

Apr. 14-May 10, 1947 -- Whistler Loan Exhibition (NMc4: 828-834)

June-July, 1947 -- Summer Exhibition (NMc4: 840)

Sept. 1947 -- Group Exhibition (NMc4: 841)

Oct. 13-Nov. 1, 1947 -- Paintings by Allen Tucker (NMc4: 842-844)

Nov. 3-22, 1947 -- Watercolors by Henry Gasser (NMc4: 846-847)

Nov. 24-Dec. 13, 1947 -- James Lechay (NMc4: 849-850)

Dec. 15, 1947-Jan. 3, 1948 -- Watercolor Exhibition (NMc4: 851)

Jan. 5-24, 1948 -- Clay Bartlett (NMc4: 852-853)

Jan. 26-Feb. 14, 1945 -- Exhibition (NMc4: 854)

Jan. 26-Feb. 14, 1948 -- Oils and Watercolors by Contemporary Artists (NMc4: 854)

Feb. 16-Mar. 6, 1948 -- Herman Maril (NMc4: 855-856)

Mar. 22-Apr. 3, 1948 -- American Art: A Multiple Exhibition arranged by the Associated Dealers in American Art (NMc4: 857-858)

Apr. 5-24, 1948 -- Raphael Gleitsmann (NMc4: 866-867)

Apr. 26-May 15, 1948 -- Oils and Watercolors by John La Farge (NMc4: 864)

May-Sept. 1948 -- Group Exhibitions (NMc4: 867)

Oct. 4-23, 1948 -- Watercolors by Charles Culver (NMc4: 869-870)

Oct. 26-Nov. 13, 1948 -- Ogden M. Pleissner (NMc4: 872)

Nov. 15-Dec. 4, 1948 -- Andrew Wyeth (NMc4: 874-875)

Nov. 21-Dec. 4, 1948 -- Oils and Gouaches by Charles Schucker (NMc4: 332-333)

Dec. 6-31, 1948 -- Watercolors and Drawings by Hermann Gross (NMc4: 877-878)

Jan. 4-22, 1949 -- Electra Bostwick (NMc4: 879, 882)

Jan. 27-Feb. 19, 1949 -- Paintings by Edna Reindel (NMc4: 880-881)

Feb. 28-Mar. 19, 1949 -- Thomas Doughty (NMc4: 885-887)

Mar. 21-Apr. 9, 1949 -- Watercolors by Arthur K. D. Healy (NMc4: 889)

Apr. 12-30, 1949 -- Drawings by Olin Dows (NMc4: 890)

May 1949 -- Group Exhibition (NMc4: 894)

Oct. 10-29, 1949 -- Clay Bartlett: Paintings of North and South America (NMc4: 895-896)

Nov. 1-19, 1949 -- Watercolors by Henry Gasser (NMc4: 897-898)

Scrapbook 20, 1949-1952

Nov. 21-Dec. 10, 1949 -- Oils and Gouaches by Charles Shucker (NMc4: 332-333)

Dec. 1949 -- Watercolor Exhibition (NMc4: 334)

Jan. 3-21, 1950 -- Carl Gaertner (NMc4: 335-356)

Jan. 23-Feb. 11, 1950 -- Constance Richardson (NMc4: 337-338)

Mar. 6-25, 1950 -- John Taylor (NMc4: 339-340)

Apr. 1950 -- Joseph De Martini (NMc4: 341)

May 8-27, 1950 -- Carl Sprinchorn (NMc4: 342-343)

Summer 1950 -- Summer Exhibition (NMc4: 345)

Oct. 9-28, 1950 -- Caseins by James Lechay (NMc4: 345-346)

Oct. 31-Nov. 18, 1950 -- Ogden M. Pleissner: Paris and the Provinces (NMc4: 347-348)

Nov. 21-Dec. 9, 1950 -- Andrew Wyeth (NMc4: 349-350)

Jan. 2-20, 1951 -- Nat Koffman (NMc4: 356-357)

Jan. 22-Feb. 10, 1951 -- Watercolors by Hermann Gross (NMc4: 358)

Feb. 12-Mar. 3, 1951 -- Watercolors (D55:390-391; NMc4: 359)

Mar. 5-24, 1951 -- Paintings by Francis Colburn (NMc4: 360)

Mar. 27-Apr. 14, 1951 -- Paintings by Herman Maril (NMc4: 361)

Apr. 16-May 5, 1951 -- Raphael Gleitsmann (NMc4: 362-363)

Summer 1951 -- Summer Exhibition (NMc4: 364)

July 7-Aug. 4, 1951 -- Paintings and Drawings by Andrew Wyeth (NMc4: 364-381)

Nov. 26-Dec. 15, 1951 -- Watercolors by Arthur K. D. Healy (NMc4: 387)

Feb. 4-Mar. 1, 1952 -- Italian Landscapes by George Inness (NMc4: 388-389)

June-July, Sept. 1952 -- Summer Exhibition (NMc4: 392)

Nov. 6-29, 1952 -- Andrew Wyeth (NMc4: 391-392)

Restrictions:

Fragile original scrapbooks are closed to researchers. For more information, please contact Reference Services.

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:

Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.

Identifier:

AAA.macbgall, Series 5

See more items in:

Macbeth Gallery records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92653096a-424e-4227-a661-9a1b02109acc

EDAN-URL:

ead_component:sova-aaa-macbgall-ref13377

Collection Creator:

Midtown Galleries  Search this

Extent:

4 Linear feet

Type:

Archival materials

Date:

1932-1982, undated

Scope and Contents note:

The Exhibitions series includes schedules and information about traveling shows, which were usually group exhibitions built around themes; these records are arranged chronologically. The majority of the records in this series consist of files on particular exhibitions, including both traveling shows and exhibitions held at Midtown Galleries; these records are arranged alphabetically by exhibition title. See the Appendix for .

See Appendix for a chronological list of Midtown Galleries exhibitions documented in Series 2.

Arrangement note:

The series is organized into two subsseries:

Missing Title

2.1: Schedules and General Correspondence, 1932-1982, undated

2.2: Midtown Galleries Exhibition Files, A-Z, 1934-1982, undated

Appendix: List of Midtown Galleries Exhibitions Documented in Series 2:

This list was compiled from announcements and catalogs produced by Midtown Galleries. A few of these were not included with the Midtown Galleries records, but were microfilmed in the mid-1960s as part of an Archives of American Art project to microfilm exhibition catalogs at a number of art libraries. Microfilm reel and frame numbers for these items are indicated in parentheses (reel: frames) immediately following the title. Most are part of Series VII: Printed Matter, and are microfilmed in chronological order; those marked with an asterisk (*) are part of the 1997 addition (5438: 713-838 and 889-932).

DateExhibitionNov. 1-15, 1932 -- Paintings by Bertram Goodman

Dec. 5-29, 1932 -- Paintings by Saul [Berman]

Nov. 7-22, 1933 -- Paintings by Marko Vukovic

Jan. 2-17, 1934 -- Recent Paintings of Nantucket by Margaret Wendell Huntington

Jan. 22-Feb.3, 1934 -- Paintings by Miron Sokole

April 2-17, 1934 -- Watercolors by Eleanor Hine

April 18-May 5, 1934 -- Paintings by Ary Stillman

Oct. 15-27, 1934 -- Paintings by Arthur L. Esner

Dec. 5-22, 1934 -- New York Night, Paintings by Eugene C. Fitsch

Jan. 14-26, 1935 -- Water Colors by E. Helen Young

Feb. 18-March 15, 1935 -- Paintings by Saul [Berman]

March 7-23, 1935 -- Drawings and Etchings by Isabel Bishop

April 1-19, 1935 -- Four Recent Guggenheim Fellows (Paintings by Francis Criss, Frank Mechau, Jr., and Doris Rosenthal, and Sculptures by Oronzio Maldarelli)

April 16-29, 1935 -- Feminanities, Paintings by Minna Citron

May 1-19, 1935 -- Doris Rosenthal (N442:537-538)

Dec. 26-Jan. 9, 1936 -- Vermont Farms by Margaret W. Huntington

Dec. 26-Jan. 12, 1936 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman

Feb. 11-29, 1936 -- Paintings by Isabel Bishop

April 10-25, 1936 -- Watercolors by Eugenie Schein

May 11-25, 1936 -- Paintings by Vincent Spagna

Oct. 14-31, 1936 -- Paintings by Martha Simpson

Dec. 8-24, 1936 -- Watercolors by Betty Pierson-Parsons

Dec. 13-24, 1936 -- American Print Makers Tenth Anniversary Annual Exhibition of Etchings, Lithographs, Woodcuts

Feb. 1-15, 1937 -- Doris Rosenthal

March 22-April 10, 1937 -- Paintings by Paul Cadmus

April 12-24, 1937 -- Paintings by Edith Nagler

April 19-May 3, 1937 -- Watercolors of Mexico by Eugenie Schein

Oct. 5-18, 1937 -- Vincent Spagna (Br15:527-529)

Oct. 19-Nov. 4, 1937 -- Paintings by Minna Citron

Nov. 5-22, 1937 -- Paul Mommer (Br15:533-535)

Nov. 23-Dec. 6, 1937 -- Paintings by Mary Hutchinson

Nov. 23-Dec. 6, 1937 -- Contemporary American Artists (Br15:536)

Dec. 7-20, 1937 -- Herbert Ferber (Br15:539-541)

Dec. 21-Jan. 3, 1938 -- Paintings by Alfred Kraemer

Jan. 4-17, 1938 -- Paintings by M. Azzi Aldrich

Feb. 8-26, 1938 -- Paintings and Drawings of Mexico by Doris Rosenthal

Sept. 16-Oct. 3, 1938 -- Paintings by Margit Varga

Nov. 21-Dec. 10, 1938 -- Paintings and Drawings by Zoltan Sepeshy

Dec. 8-24, 1938 -- Water Colors by Betty P. Parsons

Dec. 12-30, 1938 -- Water Colors of Bucks County by Lionel S. Reiss

Dec. 27-Jan. 14, 1939 -- Paintings by Jacob Getlar Smith

Jan. 17-Feb. 4, 1939 -- Paintings and Drawings by Isabel Bishop

Feb. 6-20, 1939 -- Paintings by Vincent Drennan

March 7-25, 1939 -- Paintings by Miron Sokole

March 27-April 15, 1939 -- Paintings of Mexico by Doris Rosenthal

April 17-May 6, 1939 -- Recent Paintings by Waldo Peirce

Sept. 26-Oct. 14, 1939 -- Paintings by Maurice Freedman

Oct. 17-Nov. 2, 1939 -- Paintings by Vincent Spagna

Nov. 3-20, 1939 -- Paintings by Minna Citron

Nov. 21-Dec. 9, 1939 -- Paintings by Frederic Taubes

Dec. 9-24, 1939 -- Water Colors by Betty P. Parsons

Jan. 3-20, 1940 -- Paintings by Emlen Etting

Feb. 20-March 9, 1940 -- Paintings by Paul Meltsner

March 19-April 6, 1940 -- Paintings and Watercolors by Bernardine Custer

Nov. 11-30, 1940 -- Paintings by Fletcher Martin

Dec. 2-21, 1940 -- Paintings by Simka Simkhovitch

Feb. 3-22, 1941 -- Paintings and Watercolors by Zoltan Sepeshy

March 3-22, 1941 -- Paintings by Doris Rosenthal

April 14-May 3, 1941 -- Paintings by Waldo Peirce

July 22-Aug. 22, 1941 -- Dealers Show American Art

Nov. 3-22, 1941 -- Pastels by Gladys Rockmore Davis

Nov. 25-Dec. 13, 1941 -- Water Colors by Betty P. Parsons

Dec. 15-Jan. 3, 1942 -- Paintings of the Tennessee Valley by Minna Citron

Jan. 6-24, 1942 -- Paintings by Jacob Getlar Smith

Jan. 26-Feb. 14, 1942 -- Watercolors by Zoltan Sepeshy

March 3-21, 1942 -- Tenth Anniversary Loan Exhibition, Works of Art by Midtown Artists Borrowed Back for this event from the Permanent Collections of Leading American Museums and Collectors

March 31-April 18, 1942 -- Watercolors by Waldo Peirce

April 27-May 16, 1942 -- Paintings by Vincent Spagna

May 18-June 6, 1942 -- Drawings by Isabel Bishop

Jan. 4-29, 1943 -- Watercolors by Jacob Getlar Smith

Feb. 8-March 6, 1943 -- Paintings of Mexico by Doris Rosenthal

March 5-27, 1943 -- Water Colors, Drawings and Prints by Contemporary American Artists at MacMurray College, courtesy of Midtown Galleries

March 29-April 17, 1943 -- Drawings by Minna Citron

April 19-May 15, 1943 -- Paintings by Gladys Rockmore Davis

May 17-June 4, 1943 -- Sculpture, Water Colors and Drawings by Herbert Ferber

Oct. 19-Nov. 6, 1943 -- Watercolors of the United States by Dong Kingman

Nov. 9-27, 1943 -- Ceramic Sculpture by Lilian Swann Saarinen

Nov. 23-Dec. 11, 1943 -- Drawings, Pastels, and Paintings by Doris Rosenthal

Jan. 25-Feb. 12, 1944 -- Paintings by William Thon

Feb. 5-21, 1944 -- Paintings by Mary E. Hutchinson

March 21-April 15, 1944 -- Paintings of the Ballet Backstage by Gladys Rockmore Davis

April 17-May 6, 1944 -- Paintings by Miron Sokole

May 9-27, 1944 -- Paintings by Waldo Peirce

May 29-June 17, 1944 -- Water Colors of the Stage Door Canteen and Other Home Front Activities by Bernardine Custer

Nov. 13-Dec. 2, 1944 -- Watercolors by Dong Kingman

Dec. 5-23, 1944 -- The Road to Paris, Gouaches by Emlen Etting

Dec. 26-Jan. 13, 1945 -- New York Harbor in Wartime by Julien Binford

Dec. 28-Jan. 15, 1945 -- Paintings by Fletcher Martin

Jan. 15-Feb. 3, 1945 -- Paintings, Gouaches and Drawings by Philip Guston

May 1-19, 1945 -- Paintings of Guatemala by Doris Rosenthal

Oct. 16-Nov. 3, 1945 -- Watercolors by Dong Kingman

Nov. 6-Dec., 1945 -- The Peirce Children Grow Up, Paintings by Waldo Peirce

Jan. 8-26, 1946 -- Memorial Exhibition of Paintings and Watercolors by Renee Lahm

Feb. 3, 1946 -- Upjohn Company Collection of Contemporary American Painting, High Museum of Art, Atlanta, Georgia

Feb. 19-March 9, 1946 -- Paintings by Henry Billings

April 23-May 11, 1946 -- Paintings by William Thon

Oct. 22-Nov. 9, 1946 -- Moods of Children, Paintings by Gladys Rockmore Davis

Oct. 6-26, 1946 -- Upjohn Collection of Contemporary American Paintings, Delaware Art Center, Wilmington, Delaware

Nov. 19-Dec. 7, 1946 -- Paintings and Watercolors by Zoltan Sepeshy

Feb. 2-March 1, 1947 -- Paintings by Isabel Bishop

Feb. 11-March 1, 1947 -- Paintings by Maurice Freedman

March 11-29, 1947 -- Watercolors by Dong Kingman

March 12-30, 1947 -- Recent Oil Paintings by Emlen Etting

April 1-26, 1947 -- 15th Anniversary Exhibition, Painting and Sculpture by Members of the Midtown Group of American Artists

April 2-20, 1947 -- Recent Oil Paintings by Fred Nagler

April 13-26, 1947 -- Upjohn Collection of Contemporary American Paintings, Stockwell Memorial Library, Albion College, Albion, Michigan

April 29-May 16, 1947 -- Paintings by Lenard Kester

May 12-28, 1947 -- Upjohn Collection of Contemporary American Painting, Davenport Municipal Art Gallery, Davenport, Iowa

Sept. 2, 1947 -- Upjohn Collection of Contemporary American Painting, Brooks Memorial Art Gallery, Memphis, Tennessee

Oct. 5-25, 1947 -- Upjohn Collection of Contemporary American Painting, Illinois State Museum, Springfield, Illinois

Oct. 14-Nov. 1, 1947 -- Paintings by William Palmer

Dec. 8-29, 1947 -- Upjohn Company Collection of Contemporary American Painting, The Burpee Art Gallery, Rockford, Illinois

Jan. 27-Feb. 16, 1948 -- Paintings by Henry Koerner

Feb. 1, 1948 -- Upjohn Company Collection of Contemporary American Painting, Mulvane Art Museum, Washburn University, Topeka, Kansas

March 2-20, 1948 -- Watercolors by Dong Kingman

March 7-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, Oklahoma Art Center, Oklahoma City, Oklahoma

March 22-April 3, 1948 -- American Art, A Multiple Exhibition arranged by The Association of Dealers in American Art, and Held in Their Galleries

April 6-24, 1948 -- Paintings and Gouaches by Maurice Freedman

April 11-25, 1948 -- Upjohn Company Collection of Contemporary American Painting, Isaac Delgado Museum of Art, New Orleans, Louisiana

May 6-23, 1948 -- Upjohn Company Collection of Contemporary American Painting, Dallas Health Museum, Dallas, Texas

May 11-29, 1948 -- Paintings and Mural Sketches by Emlen Etting

June 5-28, 1948 -- Upjohn Company Collection of Contemporary American Painting, William Rockhill Nelson Gallery of Arts and Mary Atkins Museum of Fine Arts, Kansas City, Missouri

July 6-29, 1948 -- Upjohn Company Collection of Contemporary American Painting, Kenosha Historical and Art Museum, Kenosha, Wisconsin

Oct. 5-23, 1948 -- Paintings by Lenard Kester

Jan. 4-22, 1949 -- Watercolors of Italy by William Thon

Jan. 25-Feb. 12, 1949 -- Paintings by Henry Koerner

Feb. 21-March 12, 1949 -- Paintings by Cecile Belle

March 15-April, 1949 -- Paintings and Drawings by Anatol Shulkin

April 5-23, 1949 -- Watercolors by Dong Kingman

May 3-21, 1949 -- Paintings by Isabel Bishop

June 3-26, 1949 -- Upjohn Company Collection of Contemporary American Painting, E. B. Crocker Art Gallery, Sacramento, California

Oct. 4-22, 1949 -- Paintings in Gouache by Fred Meyer

Oct. 25-Nov. 19, 1949 -- Paintings by Gladys Rockmore Davis

Nov. 22-Dec. 17, 1949 -- Paintings by Paul Cadmus, 1938-1949

Jan. 10-28, 1950 -- Non-Realistic and Objectionable Portraits of American Artists by Isabella Howland (drawings)

Jan. 31-Feb. 18, 1950 -- Paintings and Watercolors by Zoltan Sepeshy

Feb. 28-March 18, 1950 -- Drawings and Water Colors, Paris - Honolulu, by Emlen Etting

March 9-20, 1950 -- The Art Department of Northeast Missouri State Teachers College Presents... Contemporary American Artists, Midtown Galleries, New York City

March 21-April 15, 1950 -- Paintings and Gouaches by Henry Koerner

April 18-May 6, 1950 -- Paintings of Italy by William Thon

May 9-27, 1950 -- Recent Watercolors by Dong Kingman

Oct. 31-Nov. 25, 1950 -- Twenty-one Paintings in Casein and Ink by William C. Palmer

Nov. 28-Dec. 23, 1950 -- Recent Paintings by Fred Nagler

Jan. 2-29, 1951 -- Mobile Art Association Presents Contemporary Artists Circuited by Midtown Galleries

Feb. 6-24, 1951 -- Paintings by Miron Sokole

March 6-31, 1951 -- Paintings and Drawings by Henry Koerner

April 3-21, 1951 -- The Dance, Paintings and Drawings by Emlen Etting

May 1-26, 1951 -- 10 Year Retrospective Exhibition of Watercolors by Dong Kingman

Oct. 9-27, 1951 -- Watercolors and Oil Paintings by William Thon

Nov. 6-Dec. 1, 1951 -- 100 Drawings by Henry Koerner

Jan. 8-26, 1952 -- Oil Paintings by William Palmer

Feb. 5-25, 1952 -- Paintings by Maurice Freedman

Feb. 20-23, 1952 -- Paintings and Drawings by Doris Rosenthal Presented by Haygood Lasseter Interiors, Miami, through courtesy of Midtown Galleries, New York City

May 6-24, 1952 -- Paintings of the West Indies by Doris Rosenthal

June 4-28, 1952 -- 20 Years of the Midtown Galleries, A Pictorial Survey of Twenty Years' Activity in the Promotion of Outstanding Contemporary American Art

Nov. 5-29, 1952 -- Paintings by Henry Koerner

March 31-April 25, 1953 -- Paintings of Spain by Gladys Rockmore Davis

April 28-May 23, 1953 -- Paintings by Cecile Belle

Oct. 20-Nov. 7, 1953 -- Paintings by Margit Varga

Nov. 17-Dec. 5, 1953 -- Paintings by Zoltan Sepeshy

Dec. 14-Jan. 9, 1954 -- Paintings by William Palmer

Feb. 9-27, 1954 -- Dong Kingman's Water Colors

April 6-May 1, 1954 -- Recent Paintings and Drawings by Henry Koerner

May 4-29, 1954 -- Watercolors by William Thon

Sept. 20, 1954 -- Art In Interiors

Oct. 19-Nov. 6, 1954 -- Paintings by Robert Vickrey

Nov. 16-Dec. 4, 1954 -- Recent Paintings by Emlen Etting

Dec. 7-31, 1954 -- Recent Paintings by William Thon

Jan. 25-Feb. 12, 1955 -- Paintings of Mexico by Doris Rosenthal

Feb. 23-March 19, 1955 -- Paintings by Henry Koerner

April 12-May 7, 1955 -- Paintings and Lithographs by Robert Sivard

May 10-June 4, 1955 -- Watercolors and Drawings by Dong Kingman

Oct. 25-Nov. 19, 1955 -- Paintings and Drawings by Isabel Bishop

Nov. 22-Dec. 17, 1955 -- Paintings by William Thon

Feb. 21-March 10, 1956 -- Paintings and Gouaches by Maurice Freedman

March 13-31, 1956 -- Paintings by Cecile Belle

April 3-21, 1956 -- Recent Paintings by Miron Sokole

May 8-June 2, 1956 -- Watercolors by Dong Kingman

Sept. 25-Oct. 17, 1956 -- 5th Annual Exhibition, Art In Interiors

Nov. 20-Dec. 15, 1956 -- Paintings of Bali by Gladys Rockmore Davis

Dec. 26-Jan. 19, 1957 -- Paintings by Zoltan Sepeshy

Jan. 22-Feb. 16, 1957 -- Paintings of Mexico by Doris Rosenthal

Feb. 19-March 9, 1957 -- Paintings and Drawings by Emlen Etting

March 12-30, 1957 -- Paintings by Henry Koerner

May 7-June 8, 1957 -- 25th Anniversary Loan Exhibition, Lent by American Museums and Collectors

Nov. 12-30, 1957 -- Paintings by Betty Parsons

Dec. 3-28, 1957 -- Paintings by William Palmer

Dec. 31-Jan. 25, 1958 -- Paintings by Fred Nagler

Feb. 18-March 15, 1958 -- Paintings by Henry Koerner

March 18-April 12, 1958 -- Watercolors by Dong Kingman

April 15-May 10, 1958 -- Paintings by William Thon

May 13-31, 1958 -- Paintings by Annette Bartle

Oct. 28-Nov. 15, 1958 -- Paintings by Robert Sivard

Nov. 18-Dec. 6, 1958 -- Paintings by Robert Vickrey

Jan. 27-Feb. 21, 1959 -- Paintings by Ernest Fiene

Feb. 24-March 14, 1959 -- Paintings by Jason Schoener

March 17-April 4, 1959 -- Paintings by Waldo Peirce

April 14-May 2, 1959 -- Sculpture by Raimondo Puccinelli

May 5-23, 1959 -- Annual Good Drawing Exhibition by Distinguished American Draughtsmen

Sept. 29-Oct. 21, 1959 -- Th Annual Exhibition, Art In Interiors

Nov. 17-Dec. 5, 1959 -- Paintings by Maurice Freedman

Dec. 8-26, 1959 -- Paintings by William Palmer

Jan. 5-30, 1960 -- Paintings by Henry Koerner

March 1-26, 1960 -- Paintings by Waldo Peirce

March 29-April 23, 1960 -- Paintings and Watercolors by William Thon

May 3-28, 1960 -- Paintings by Isabel Bishop

Sept. 20-Oct. 19, 1960 -- The Annual Exhibition, Art In Interiors

Oct. 25-Nov. 19, 1960 -- Paintings by Robert Vickrey

Nov. 22-Dec. 10, 1960 -- Paintings by Annette Bartle

Dec. 12-Jan. 6, 1960 -- Paintings by William Palmer

Dec. 13-Jan. 7, 1961 -- Paintings by Jason Schoener

Jan. 10-Feb. 4, 1961 -- Recent Paintings by Emlen Etting

Feb. 28-March 18, 1961 -- Drawings by Henry Koerner

March 21-April 15, 1961 -- Paintings by Zoltan Sepeshy

April 18-May 13, 1961 -- Watercolors by 5: William Thon, Jason Schoener, Robert Vickrey, Edward Betts, Fred Nagler

Sept. 27-Oct. 18, 1961 -- 10th Anniversary Exhibition, Art In Interiors

Jan. 16-Feb. 3, 1962 -- Oh, Fearful Wonder of Man, Recent Paintings and Drawings by Henry Koerner

March 21-April 7, 1962 -- Barabbas

April 10-May 5, 1962 -- Paintings and Watercolors by Robert Vickrey

June 5-July 6, 1962 -- Oil Paintings and Watercolors by William Thon

Nov. 23-Dec. 15, 1962 -- 30th Anniversary Loan Exhibition, Loans from American Museums and Collectors

Dec. 19-Jan. 5, 1963 -- Recent Paintings and Drawings by Henry Koerner

Jan. 8-Feb. 2, 1963 -- Oil Paintings, Nos. 1 through 25, Paintings of Maine, California, Greece, etc., Gouaches by Jason Schoener

March 5-30, 1963 -- Four Distinguished American Painters: William Thon, Robert Vickrey, Jason Schoener, Edward Betts

April 2-27, 1963 -- 30 Years of Religious Painting by Fred Nagler

April 30-May 18, 1963 -- Forms in Light, 1959-1963, Recent Paintings by Henry Billings

Oct. 8-26, 1963 -- Recent Paintings by Annette Bartle

Oct. 29-Nov. 16, 1963 -- Recent Paintings by Maurice Freedman

Nov. 26-Dec. 21, 1963 -- Recent Paintings by William Palmer

Feb. 18-March 14, 1964 -- Paintings and Drawings by Siegfried Reinhardt

March 17-April 11, 1964 -- Paintings and Drawings by William Thon

April 21-May 9, 1964 -- Drawings, Watercolors, and Welded Sculpture by Nathan Cabot Hale

Oct. 6-31, 1964 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, Edward Betts, William Thon, Waldo Peirce, and Jason Schoener)

Nov. 10-Dec. 5, 1964 -- Paintings by Hans Moller

Dec. 8-26, 1964 -- Twenty Five Years of Drawing by Emlen Etting

Jan. 4-22, 1966 -- Paintings from the Greek Islands by Emlen Etting

Jan. 25-Feb. 12, 1966 -- Paintings of Greece by Jason Schoener

Feb. 15-March 12, 1966 -- Recent Paintings by Robert Sivard

March 15-April 2, 1966 -- Recent Paintings by Annette Bartle

April 5-30, 1966 -- Paintings and Watercolors by William Thon

Sept. 11-Oct. 7, 1966 -- Midtown Galleries Exhibition at Charleston Art Gallery, Charleston, W. Va.

Sept. 7-Oct. 22, 1966 -- Paintings of Maine by Midtown's Maine Artists (Hans Moller, William Thon, Edward Betts, Waldo Peirce, and Jason Schoener)

Oct. 25-Nov. 12, 1966 -- Flowers in Art, Paintings and Watercolors

Nov. 8-Dec. 3, 1966 -- Paintings by Siegfried Reinhardt

Dec. 6-31, 1966 -- Small Paintings by Major Artists (Isabel Bishop, Paul Cadmus, William Palmer, Robert Vickrey, Emlen Etting, Doris Rosenthal, Robert Sivard, Edward Betts, Jason Schoener, Roy Moyer, Waldo Peirce, Hans Moller, Charles Coiner, Maurice Freedman, Fred Nagler, etc.)

Jan. 4-28, 1967 -- Recent Paintings by Hans Moller

March 14-April 1, 1967 -- 35th Anniversary Exhibition, A Documentary Presentation of Midtown Galleries' 35 Years of Varied Activities in Behalf of the Contemporary American Artist

April 4-29, 1967 -- Paintings by Isabel Bishop

May 9-June 3, 1967 -- Watercolors by Four Distinguished American Painters (William Thon, Hans Moller, Jason Schoener, Edward Betts)

Oct. 3-28, 1967 -- Recent Paintings of France by Robert Sivard

Oct. 31-Nov. 25, 1967 -- Recent Paintings by Roy Moyer

Nov. 28-Dec. 16, 1967 -- Watercolors by Four (William Thon, Edward Betts, Jason Schoener, Hans Moller)

Dec. 12-Jan. 6, 1968 -- Paintings by William Palmer

Jan. 7-28, 1968 -- Group Exhibition at the Columbus Museum of Arts and Crafts, Inc., Columbus, Ga., Courtesy of Midtown Galleries

Jan. 16-Feb. 10, 1968 -- Recent Paintings of the Scottish Highlands by Charles Coiner

Feb. 13-March 9, 1968 -- Recent Sculpture by Fred Meyer

March 1-April 6, 1968 -- Retrospective Selection of Drawings and Prints, Including Loans from Public and Private Collections, 1907-1968

April 9-May 4, 1968 -- Paintings of Ireland by William Thon

May 7-31, 1968 -- Sculpture, Watercolors and Drawings by Nathan Cabot Hale

Oct. 15-Nov. 9, 1968 -- Recent Paintings by Edward Betts

Nov 12-Dec. 7, 1968 -- Elections: Waldo Peirce, 1938-1968

Dec. 10, 1968-Jan. 4, 1969 -- Watercolors by 4 Members of the Midtown Group Noted for their Work in this Medium (William Thon, Edward Betts, Jason Schoener, Hans Moller)

Feb. 4-March 1, 1969 -- Paintings by Jason Schoner

April 1-26, 1969 -- Recent Paintings by Ethel Magafan

April 29-May 24, 1969 -- Paintings by Robert Vickrey

Oct. 7-Nov. 1 Hans, 1969 -- Watercolors by Five Distinguished American Painters (William Thon, Moller, Ethel Magafan, Jason Schoener, and Edward Betts)

Nov. 5-29, 1969 -- Paintings by Richard Mayhew

Dec. 2-27, 1969 -- Recent Paintings by William Palmer

Jan. 6-24, 1970 -- Exhibition of Paintings by Maurice Freedman

Feb., 1970 -- 38th Anniversary Exhibition

March 3-28, 1970 -- Paintings of Mykonos, Etc. by Margit Varga

Sept. 29-Oct. 24, 1970 -- Watercolors and Pastels of Monhegan, Maine, by Hans Moller

Jan. 19-Feb. 13, 1971 -- Recent Paintings by Stephen Etnier

Feb. 16-March 13, 1971 -- Thirty-Ninth Anniversary Exhibition

March 16-April 10, 1971 -- Paintings by Richard Mayhew

April 13-May 8, 1971 -- Paintings by Charles Coiner

May 21-June 5, 1971 -- Earth, Sea and Sky: Naturescapes by Eight Artists, Squibb Gallery, Courtesy of Midtown Galleries

Sept. 28-Oct. 23, 1971 -- Paintings by Emlen Etting

Oct. 26-Nov. 20, 1971 -- Bishop, Cadmus, Vickrey*

Nov. 23-Dec. 18, 1971 -- Paintings by William Thon

Dec. 21-Jan. 15, 1972 -- Paintings by Maurice Freedman

Jan. 18-Feb. 12, 1972 -- Paintings of Latin America by Jason Schoener

Feb. 15-March 11, 1972 -- Fortieth Anniversary Exhibition (In Tribute to the Memory of Alan D. Gruskin)

March 14-April 8, 1972 -- Paintings of Maine and California by Edward Betts

May 9-June 3, 1972 -- Flowers in Art (Paintings by Waldo Peirce, William Palmer, Emlen Etting, Roy Moyer, Maurice Freedman, Hans Moller, Charles Coiner, Julien Binford, Robert Vickrey)

Oct. 24-Nov. 18, 1972 -- Waldo Peirce Memorial Exhibition, Paintings of the Last Two Decades

Oct. 3-21, 1972 -- Drawings by Eight Important Contemporary American Artists (Isabel Bishop, Paul Cadmus, Emlen Etting, Ethel Magafan, Richard Mayhew, Hans Moller, William Palmer, William Thon)

Nov. 21-Dec. 16, 1972 -- Paintings by Robert Vickrey

Dec. 19-Jan. 13, 1973 -- Religious and Figurative Paintings by Fred Nagler

March 6-31, 1973 -- Recent Paintings by Hans Moller

April 3-28, 1973 -- Paintings by Ethel Magafan

June 5-22, 1973 -- New Talent Festival

Oct. 2-27, 1973 -- Sculpture and Drawings by Nathan Cabot Hale

Oct. 30-Nov. 24, 1973 -- Recent Paintings of England, Scotland and Wales by Charles Coiner

Jan. 8-Feb. 2, 1974 -- A Selection of Drawings and Prints by Isabel Bishop

Feb. 5-March 2, 1974 -- 42nd Anniversary Exhibition, Paintings of the Thirties

March 5-30, 1974 -- Paintings by Richard Mayhew

April 2-27, 1974 -- Flowers by Julien Binford

June 4-15, 1974 -- New Talent Festival

Oct. 1-26, 1974 -- Terra Cottas and Bronzes by Fred Meyer

Oct. 29-Nov. 23, 1974 -- Paintings and Prints by Robert Sivard

Nov. 26-Dec. 21, 1974 -- Paintings by William Palmer

Jan. 7-25, 1975 -- Recent Paintings by Robert Vickrey

Jan. 28-Feb. 22, 1975 -- Paintings and Gouaches by Jason Schoener

Feb. 25-March 22, 1975 -- Watercolor Paintings by William Thon

March 25-April 12, 1975 -- Paintings by Maurice Freedman

Oct. 6-31, 1975 -- Religious Paintings by Fred Nagler at Saint Peter's Gallery, New York City (in cooperation with Midtown Galleries)

Oct. 28-Nov. 22, 1975 -- Paintings by Emlen Etting

Dec. 23-Jan. 17, 1976 -- Richard Mayhew*

Jan. 20-Feb. 14, 1976 -- Paintings by Ethel Magafan

March 16-April 10, 1976 -- Paintings by Edward Betts

April 13-May 10, 1976 -- Selected Works by Paul Cadmus

May 11-28, 1976 -- American Landscapes (William Palmer, Charles Coiner, Robert Vickrey, Waldo Peirce, William Thon, Jason Schoener)

June 1-18, 1976 -- New Talent Festival

Sept. 28-Oct. 23, 1976 -- Paintings of The Hamptons by Margit Varga

Oct. 26-Nov. 20, 1976 -- Paintings by Stephen Etnier

Nov. 2-20, 1976 -- Illustrations by Isabel Bishop for "Pride and Prejudice" by Jane Austen

Nov. 23-Dec. 18, 1976 -- Paintings by Robert Vickrey

Dec. 28-Jan. 22, 1977 -- On Loan from a Private Collection, "Seven Deadly Sins" and "Subway Symphony" by Paul Cadmus

Jan. 25-Feb. 19, 1977 -- 45th Anniversary Exhibition

Feb. 22-March 19, 1977 -- Paintings of Artists and Writers in Paris by Robert Sivard

March 22-April 16, 1977 -- Paintings and Watercolors by William Thon

April 19-May 14, 1977 -- Paintings by Maurice Freedman

May 17-June 4, 1977 -- New Talent and Guest Exhibition (Mary L. Buckley, Ruth Cobb, David Cobb Kupferman, Meyer Tannenbaum)

Nov. 1-26, 1977 -- Paintings by Waldo Peirce

Nov. 29-Dec. 24, 1977 -- Paintings by William Palmer

Feb. 28-March 25, 1978 -- Paintings of England, Scotland, Maine by Jason Schoener

March 28-April 22, 1978 -- Drawings and Serigraphs by Gregorio Prestopino

April 25-May 20, 1978 -- Terra Cottas and Bronzes by Fred Meyer

Oct. 31-Dec. 2, 1978 -- Paintings by Charles Coiner

Nov. 28-Dec. 16, 1978 -- Watercolors of Paris Shops, Dublin Pubs, etc. by Robert Sivard

Dec. 5-30, 1978 -- Drawings and Etchings by Isabel Bishop

Jan. 9-Feb. 3, 1979 -- The Seasons (Paintings by William Palmer, Paul Cadmus, William Thon, Hans Moller, Edward Betts, Emlen Etting, Gregorio Prestopino, Richard Mayhew, Maurice Freedman, Waldo Peirce, Jason Schoener, Charles Coiner)

Feb. 6-March 3, 1979 -- Recent Paintings by Stephen Etnier

Oct. 9-Nov. 3, 1979 -- Paintings by Maurice Freedman

Nov. 6-Dec. 1, 1979 -- Watercolors by Gregorio Prestopino

Dec. 4-29, 1979 -- Paul Cadmus, A Small Intimate Retrospective on the Occasion of His Seventy-fifth Birthday

Feb. 5-March 1, 1980 -- Drawings by Emlen Etting

March 4-29, 1980 -- Paintings of Summer in Maine by Jason Schoener

April 29-May 24, 1980 -- Paintings by Bruce Currie

Nov. 4-29, 1980 -- Paintings by Stephen Etnier

Dec. 2-Jan. 3, 1981 -- Paintings by William Thon

Jan. 6-31, 1981 -- Paintings by Ethel Magafan

Feb. 3-28, 1981 -- Watercolors by Ruth Cobb

March 3-28, 1981 -- Paintings by Robert Sivard

Sept. 8-Oct. 3, 1981 -- Self Portraits *

Oct. 6-31, 1981 -- A Fifty Year Drawing Retrospective and Recent Paintings by Isabel Bishop

Dec. 1-Jan. 9, 1982 -- William Palmer: Painting 50 Years

Jan. 19-Feb. 27, 1982 -- Retrospective Exhibition of Selected Paintings, 1932-1982, by Maurice Freedman

March 2-27, 1982 -- Retrospective Exhibition by Margit Varga

March 30-April 24, 1982 -- Midtown Galleries Golden Anniversary, Selected Work by Gallery Artists

April 27-May 22, 1982 -- New Bronzes and Terra Cottas by Fred Meyer

Oct. 5-20, 1982 -- Ruth Cobb: A Selection of Watercolors *

Nov. 2-27, 1982 -- A Twenty Year Retrospective Exhibition by Edward Betts

Jan. 4-29, 1983 -- Recent Paintings and Sculpture by Artists Associated with Midtown Galleries since the Thirties and Forties *

Feb. 1-26, 1983 -- Isabel Bishop: An Intimate Exhibition of Work of the Past Five Years

July 10-Aug. 4, 1983 -- Selected Works of Contemporary American Artists from the Midtown Galleries, New York City [at Fairfield University] *

Oct. 4-30, 1983 -- Paintings, Drawings and Prints by Bernarda Bryson Shahn

Nov. 1-26, 1983 -- Jason Schoener: The Artist's Travels *

Nov. 29-Dec. 31, 1983 -- Paul Cadmus: Drawings, Prints, Photographs, 1924-1983 *

Jan. 10-Feb. 4, 1984 -- Emlen Etting: 50 Years of Paintings and Drawings *

Feb. 7-March 3, 1984 -- Ethel Magafan: Oils and Watercolors *

April 10-May 5, 1984 -- Charles Coiner *

Dec. 10, 1985-Jan. 8, 1986 -- Three Figurative Artists: Paul Cadmus, Isabel Bishop, Bernarda Bryson Shahn *

May 6-June 8, 1986 -- William Palmer: The Early Years, 1926-1940 *

Dec. 9, 1986-Jan. 17, 1987 -- Isabel Bishop: Early Drawings *

June 7-July 7, 1987 -- Julien Binford: Fifty Years of Painting *

Dec. 8, 1987-Jan. 31, 1988 -- Paul Cadmus: 50th Anniversary Exhibition *

March 2-April 9, 1988 -- Painting America: Mural Art in the New Deal Era (in association with Janet Marqusee Fine Arts) *

Nov. 11-Dec. 30, 1989 -- Walt Kuhn *

Feb. 22-April 7, 1990 -- Close Encounters: The Art of Paul Cadmus, Jared French, and George Tooker *

Oct. 12-Nov. 24, 1990 -- Jack Levine: An Overview, 1930-1990 *

Feb. 6-March 7, 1992 -- The Midtown Flower Show *

Oct. 13-Nov. 14, 1992 -- Robert Kushner: IV Seasons *

Oct. 13-Nov. 14, 1992 -- Isabel Bishop: Walking Pictures *

Nov. 18-Dec. 21, 1992 -- Walt Kuhn: People and Performances *

March 25-April 25, 1993 -- Bernarda Bryson Shahn: Images and Ideas *

Sept. 9-Oct. 9, 1993 -- Michael Berget: A Delicate Balance *

Sept. 9-Oct. 9, 1993 -- Lee Jackson: The Figure in Light and Motion *

Jan. 19-Feb. 26, 1994 -- Cynthia Knott: Horizons *

Sept. 21-Nov. 5, 1994 -- Paul Tchelitchev: A Reevaluation *

Nov. 11-Dec. 30, 1994 -- Paul Cadmus: Still Lifes, Portraits, Tableaux

Jan. 12-Feb. 25, 1995 -- Jacob Lawrence: An Overview, Paintings from 1936-1994 *

March 2-April 8, 1995 -- Robert Kushner: Mille Fleurs, a Cornucopia of New Paintings *

Below is a list of exhibitions for which the year or date is unknown.

DateExhibitionundated -- Solo Exhibitions, A - Z (by artist)

Jan. 27-Feb. 10 -- Paintings by M. Azzi Aldrich

Nov. 23-Dec. 9 -- Paintings by M. Azzi Aldrich

April 17-May 6 -- Paintings by Saul Berman

Nov. 9-28 -- Paintings by Julien Binford

March 7-23 -- Drawings and Etchings by Isabel Bishop

Oct. 3-15 -- Paintings by Isabel Bishop

Feb. 15-March 4 -- Paintings by Homer Boss

April 18-30 -- Paintings and Watercolors by Homer Boss

Oct. 24-Nov. 17 -- Paintings and Drawings by Paul Cadmus

April 16-29 -- Feminanities, Paintings by Minna Citron

April 27-May 13 -- Paintings by Minna Citron

Dec. 14-25 -- Paintings by Adelaide De Groot

June 8-21 Other -- Exhibition of Drawings of the Philadelphia Stage Door Canteen and Recent Drawings by Emlen Etting

Oct. 23-Nov. 11 -- Paintings and Gouaches by Maurice Freedman

Dec. 26-Jan. 12 -- Paintings of Massachusetts and Pennsylvania by Maurice Freedman

Feb. 1-14 -- Watercolors by Ethel Katz

Oct. 13-31 -- Watercolors by Dong Kingman

Oct. 14-Nov. 1 -- Dong Kingman's Watercolors

undated -- Watercolors by Dong Kingman

June 6-23 -- Building the New York World's Fair, Gouaches and Oil Paintings by Renee Lahm

March 23-April 15 -- New York Murals by Edward Laning

May 22-June 9 -- Drawings of War in Italy by Edward Laning

Oct. 19-Nov. 4 -- Sculpture by Oronzio Maldarelli

Oct. 29-Nov. 17 -- Sculptures in Hammered Metal by Oronzio Maldarelli

March 18-31 -- Paintings and Watercolors by Joseph Margulies

June 2-21 -- Drawings by Fletcher Martin

April 20-May 9 -- Oils, Water Colors, Lithographs, and Drawing by Paul R. Meltsner

April 30-May 18 -- Oils, Tempera, and Lithographs by Paul R. Meltsner

May 24-June 10 -- Oil Paintings and Water Colors by Paul Meltsner

May 14-29 -- Watercolors by Thalia Millett

May 7-27 -- Watercolors by Kaname Miyamoto

May 1-16 -- Paintings by Paul Mommer

Oct. 2-18 -- Paintings by Paul Mommer

Oct. 13-31 -- Paintings by Paul Mommer

Nov. 1-16 -- Paintings by Paul Mommer

May 12-31 -- Paintings by Fred Nagler

Oct. 18-31 -- Paintings by Fred Nagler

Jan. 4-29 -- Iowa Landscapes, Paintings and Watercolors by William C. Palmer

March 24-April 12 -- Recent Wash Drawings by William C. Palmer

Sept. 25-Oct. 14 -- Paintings and Drawings by William Palmer

Dec. 12 -- Paintings by William Palmer

Dec. 3-16 -- Watercolors by Betty Pierson-Parsons

Feb. 15-March 1 -- Paintings and Sculpture by Alzira Peirce

Oct. 4-17 -- Paintings by Alzira Peirce

Jan. 7-25 -- Paintings by Waldo Peirce

March 3-29 -- Paintings, Watercolors, Prints by Waldo Peirce

Aug. 30-Sept. 25 -- Six Year Retrospective Exhibition of Paintings by Waldo Peirce

Nov. 16-Dec. 5 -- Paintings by Waldo Peirce

Nov. 14-Dec. 9 -- Paintings and Drawings by Siegfried Reinhardt

Dec. 12-30 -- Watercolors by Lionel S. Reiss

Nov. 2-14 -- Water Scenes of New York by Saul [Berman]

April 10-25 -- Watercolors by Eugenie Schein

Nov. 1-19 -- Paintings by Anatol Shulkin

Sept. 28-Oct. 12 -- Paintings by Martha Simpson

Jan. 18-Feb. 5 -- Paintings by Jacob Getler Smith

April 9-27 -- Drawings and Watercolors by Jacob Getlar Smith

Dec. 27-Jan. 14 -- Watercolors by Jacob Getlar Smith

Jan. 11-28 -- Paintings by Miron Sokole

Dec. 10-23 -- Gouaches by Miron Sokole

March 2-16 -- Paintings by Isaac Soyer

May 3-21 -- Paintings by Isaac Soyer

March 2-20 -- Paintings by Frederic Taubes

Nov. 27-Dec. 22 -- Recent Paintings by William Thon

undated -- Paintings and Watercolors by William Thon

Feb. 27-March 10 -- Watercolors of Mexico by Edward Valentine

March 22-April 9 -- Sculpture by Arline Wingate

Jan. 14-26 -- Water Colors by E. Helen Young

Group Exhibitions, date or year unknown

DateExhibitionundated -- Group Exhibitions

Feb. 27-March 26 -- Cooperative Exhibition of Contemporary American Art

May 4-31 -- Peggy de Salle Presents Little Gallery's 20th Anniversary: Four Nationally Known Artists, Courtesy Midtown Galleries (Isabel Bishop, Stephen Etnier, Zoltan Sepeshy, William Thon)

June 24-July 30 -- Three Painters from the Midtown, Watercolors, Drawings, Pastels at United Virginia Bank Gallery, Norfolk, Va. (Hans Miller, Jason Schoener, William Thon)

July 31-Aug. 13 -- Contemporary American Artists Associated with Midtown Galleries of New York, Four Fountains, Southampton

Collection Restrictions:

The collection is open for research. Patrons must use microfilm copy.

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:

Midtown Galleries records, 1904-1997. Archives of American Art, Smithsonian Institution

Identifier:

AAA.midtgall, Series 2

See more items in:

Midtown Galleries records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw92e10a9e6-2add-4396-b7d9-a39cfb0dfb25

EDAN-URL:

ead_component:sova-aaa-midtgall-ref4370

Collection Creator:

Lazzari, Pietro, 1898-1979  Search this

Extent:

1.7 Linear feet (Boxes 1-2)

Type:

Archival materials

Date:

1895-1998, undated

Scope and Contents note:

This series consists of letters exchanged between Lazzari, family members, and colleagues. Over one hundred letters from the Federal Works Agency and the Treasury Department Section of Painting and Sculpture concern post office murals for towns in Florida, New Jersey, and North Carolina. Five letters from the National Aeronautics and Space Administration contain 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon. Lazzari also received at least one letter each from Jacqueline Kennedy, Duncan Phillips, Eleanor Roosevelt, industrialist John Rust, and socialist Norman Thomas.

See Appendix for a list of selected correspondents in Series 2.

Arrangement note:

Correspondence is arranged chronologically.

Appendix: Selected Correspondents in Series 2:

Aguilera, Francisco: undated (1 letter)

Albergo Saturnia, Rome: 1928 (1 letter)

Alberts: Russell Alberts-Laura Langdon Antiques: undated (1 letter)

Alexander Gallery: undated (1 letter)

Allied Publications, Inc.: 1965 (1 letter)

Alterman, Selma: undated (1 letter)

Ambasciata d'Italia: 1950-1973 (3 letters)

Ambasciatore d'Italia: undated and 1971 (2 letters)

America-Italy Society: 1956 (1 letter)

American Academy in Rome: 1955 (2 letters)

American Artists Professional League: 1949-1955 (3 letters)

American Battle Monuments Commission: 1959 (1 letter)

American Commission for Cultural Exchange with Italy (Fulbright grant): 1950-1954 (2 letters)

American Federation of Arts: 1951-1956 (2 letters)

American Red Cross: 1943-1945 (6 letters)

American University: 1947-1967 (5 letters)

Amici, Alfredo: 1948-1959 (6 letters)

Amministrazione Erdi M.se Saverio Patrizi: 1969 (2 letters)

Andori, Adolfo: 1913-1916 (3 letters)

Anderson, Wayne V.: 1956 (1 letter)

Andrade, Victor: undated (1 letter)

Angelelli, Augusta: 1972 (1 letter)

Angiolillo, Giuseppe: 1967-1972 (9 letters)

Anson, Cherrill: 1998 (1 letter)

Appleby, J. Scott: 1952-1961 (9 letters); see Life Insurance Company of Georgia

Aquil, Preta: 1921 (1 letter)

Architectural League of New York: 1955 (3 letters)

Aristide, Zio (?): 1926 (1 letter)

Arndal, Kersten: 1970-1977 (2 letters)

Art Direction -- magazine: 1956 (1 letter)

Art in Federal Buildings, Inc.: 1943 (1 letter)

Art Institute of Chicago: 1944-1956 (11 letters)

Artists Equity Association: undated and 1949-1972 (7 letters)

Artists for Victory: 1942-1943 (7 letters including a prospectus for "America in the War" exhibition)

Artists of Washington, D.C.: undated (1 letter)

Artist's Guild of Washington: 1960 (1 letter)

Associated Architects & Engineers: 1957 (1 letter)

Associated Artists Gallery of Washington: 1961 (1 letter)

Associazione Artistica Internazionale: 1950 (1 letter)

Atomic Energy Clearing House: 1963 (1 letter)

Bache, Martha Moffett: 1949 (1 letter)

Backus, Florence: 1955 (1 letter)

Bader: Franz Bader Gallery: 1950-1976 (3 letters)

Baltimore Museum of Art: undated and 1948-1956 (8 letters); see Breeskin, Adelyn

Banca Commerciale Italiana: 1969 (2 letters)

Bankok Insustries, Inc.: 1972 (1 letter)

Bashir, Mir: 1955 (2 letters)

Bazzanella, Albina: 1926-1928 (2 letters)

Bedi-Rassy Art Foundry: 1952-1962 (4 letters)

Beer, Elsie: 1926-1928 (3 letters)

Bergeson, Mrs.: 1951 (1 letter)

Berkman, Jack: 1949 (1 letter)

Berkowitz, Ida and Leon (Workshop Center of the Arts): 1953-1955 (2 letters)

Berrier, Jean: 1971 (1 letter)

Betts, Luici: 1928 (1 letter)

Birnbaum, Britta: 1963 (1 letter)

Blake, Margaret Day: [1956] (1 letter)

Blanc, Peter: undated and 1948-1950 (4 letters)

Bly?, Edith: undated (1 letter)

Borea, Raimondo: 1971 (1 letter)

Borzani, Gastone: 1918 (1 letter)

Boulner, Bartlet: 1927 (1 letter)

Bowen, Elizabeth: undated (1 letter)

Brambilla, Helen: 1945 (1 letter of recommendation for Lazzari)

Breeskin, Adelyn D. (Baltimore Museum of Art): 1953-1961 (4 letters)

Broders, Dr. Hy: 1941 (envelope only; enclosing photo of unidentified friends)

Brooklyn Museum: 1956 (1 letter)

Brooks Memorial Art Gallery: 1952 (2 letters); see Rust, John

Broude & Hochberg: 1969 (1 letter)

Brown, James W.: 1934 (1 letter)

Bruce, Edward: mentioned in 3 letters dated 1938-1943

Bryn Mawr Club of Washington: 1961 (1 letter)

Buckingham Palace: 1971 (1 letter)

Bureau of Copyrights and Patents, Library of Congress: 1936-1955 (3 letters)

Burleighfield International Arts Centre: 1977 (1 letter)

Buxton, P. S.: 1969 (1 letter)

Cahill, Holger: see Works Progress Administration

Caldwell, Henry Bryan: 1951 (1 letter from Lazzari)

Calfee, William H.: 1967 (1 letter)

California: University of California at Berkeley: 1986 (1 letter)

California: University of California at Los Angeles: 1970 (1 letter)

Canali, Paola: undated (1 letter)

Cani, Edward: undated (1 letter)

Capital Park Apartments: mentioned in a letter dated 1962

Carbela: 1929 (1 letter)

Carbonati, Antonio: 1927 (2 letters)

Carnassale, Enrico: 1914-1916 (2 letters)

Carolan, Anna B. (The Little Gallery): 1947 (2 letters)

Casella, E. and M.: 1917-1918 (4 letters)

Caserma, Luisa.: 1914-1917 (2 letters)

Catholic University of America: 1964 (1 letter)

Caulfield, Patricia: 1949 (1 letter)

Central States Joint Board: 1977 (1 letter)

Chapel, Maria: 1970-1973 (3 letters)

Chase, Ralph H.: 1959-1961 (2 letters)

Child, Col. Sargent B.: 1968 (1 letter from Corcoran)

City of New York Department of Correction (Riker's Island mural): 1936-1937 (2 letters)

Civil Service Commission Club: 1949 (1 letter)

Clark, Joseph (Senator from Pennsylvania): 1962 (1 letter)

Clemens, Cyril ( -- Mark Twain Journal): -- 1971 (1 letter)

Cohen, Evelyn: see Lazzari, Evelyn

Cohen, Lester: 1956 (1 letter)

Colladay, Edward F.: 1932 (1 letter)

Conant, Howard (New York University): 1956 (1 letter)

Connolley, Robert Emmet: 1947-1950 (8 letters)

Console Generale d'Italia: 1965 (1 letter)

Constantino, C.: 1967 (1 letter)

Cook, Elizabeth: [1946] (1 letter)

Cooke: Hereward Lester Cooke Foundation: 1974-1975 (3 letters); see National Aeronautics and Space Administration; see National Gallery of Art

Cooper, Alice J.: 1927 (1 letter)

Corcoran Gallery of Art: undated and 1951-1981 (37 letters)

Corsi, Emma and W. Edward: 1928 (1 letter)

Cosgrove, Jessica (Mrs. John O'Hara Cosgrove): 1928-1930 (22 letters)

Cosgrove, John O'Hara (editor of -- New York World): -- undated and 1927-1929 (7 letters)

Costintin, Celestino and Emilia: 1916-1971 (6 letters)

Cotzia, Pasquale: 1966-1968 (2 letters)

Coughlin, Clarence John: 1948 (1 letter)

Crimi: undated (1 letter)

Crosby, Caresse (Crosby Gallery of Modern Art): undated and 1945-1969 (14 letters)

Crossley, Kay A.: 1966 (1 letter)

Cullen, Amelia: undated (1 letter)

Cusumono, Stefano: 1947-1951 (3 letters)

Daloni, Edith B.: 1928 (1 letter)

Damer, Veffarghi: 1919 (1 letter)

Damiani, Angelo: 1921 (1 letter)

Dane, C. K.: 1965 (1 letter)

Dean, Edward: 1940 (1 letter)

Debs: Eugene V. Debs Foundation: 1965-1966 (3 letters including 6 photographs with Norman Thomas); see United Auto Workers

de Chetelat, Mr.: mentioned in letter dated 1928

de Chirico, Giorgio: mentioned in undated invitation from Ambasciatore d'Italia

DeLano, Agnes: undated (1 letter)

De Medio, Americo: 1963-1976 (32 letters)

De Medio, Vincenzo: undated and 1970-1977 (3 letters)

Demiddi, Alberto: undated and 1972 (3 letters)

De Mont, Nany and Eugene: undated (1 letter)

Dernay, Eugene: 1945-1959 (4 letters)

Design in Steel Award Program: 1972 (1 letter)

Dictionary of International Biography: 1974 (1 letter)

Diller, Burgoyne: see Federal Art Project

Dipanfilo, Pio: 1949-1968 (10 letters)

Di Raimondo, Vicenzo: 1920-1928 (7 letters)

District of Columbia Board of Commissioners: 1959 (1 letter)

District of Columbia Department of Public Welfare: 1958 (1 letter)

District of Columbia Juvenile Court: 1964 (1 letter)

District of Columbia Recreation Board: 1963 (1 letter)

Dole (?), Louis: 1923 (1 letter)

Dollinger, Josef: undated (1 letter)

Donaldson, Leota L.: undated (2 letters)

Donaldson, Renee: undated (1 letter)

Douglas, Paul F.: 1951 (1 letter)

Dretzin, S. C.: 1950 (1 letter)

Draper, Warren A.: 1944 (1 letter)

Dumbarton College: 1949-1951 (3 letters)

Duncan and Duncan Chinese Shop: 1964 (1 letter)

Dunham, Dr. G. C.: 1944 (1 letter re: portrait of Dr. Sawyer)

Duproix, Eunice: 1928 (1 letter)

Durbin, Jack: 1960 (1 letter)

Editions du Griffon, Neuchatel, Suisse: 1964 (3 letters)

Edsor, Mary: 1928 (1 letter)

Elenbrock, Gretel: 1927 (3 letters)

Elkins: Stella Elkins Tyler School of Fine Arts of Temple University: 1956 (1 letter)

Eng, Ernest: 1959 (1 letter)

Ernesto Desideri: 1915 (3 letters)

Evening Star -- newspaper, Washington, D.C.: 1957 (1 letter)

Farmers Educational and Cooperative Union: 1944 (1 letter)

Fasola, Roberto: 1948-1949 (2 letters)

Federal Art Project: 1938-1939 (4 letters)

Federal Works Agency, Public Buildings Administration: 1940-1947 (70 letters re: murals for the Brevard, N.C. post office, the North Bergen, N.J. post office, and the Jasper, Florida post office, including a contract, 2 photographs, and 2 sketches for a mural)

Federal Works Agency, Work Projects Administration: 1941-1942 (2 letters)

Fellowship of Reconciliation and War Resisters League: [1945] (1 letter)

Ferargil Gallery: 1941 (1 letter)

Ferreri, Elena: 1938 (1 letter)

Figoullo, Adriano: 1912 (1 letter)

Fiore, Ilario and Titta: 1966-1967 (5 letters)

Fitzwater, Aldace: 1950 (1 letter)

Florentine Gallery: 1956 (4 letters)

Fogle, Bruce: 1927 (1 letter)

Food and Agriculture Organization of the United Nations: 1956 (1 letter)

Force, Mrs.: undated (1 letter)

Foreign Service of the United States of America: 1950 (3 letters)

Foresti, Arnaldo: 1948-1949 (2 letters)

Fortas, Abe: 1956 (1 letter)

Fortune -- magazine: 1944-1956 (2 letters)

Francis, Emily A.: 1951 (3 letters)

Franco, Johan: 1966 (2 letters)

Frankel, Samuel: undated (1 letter)

Freeman: Carl M. Freeman Associates, Inc.: 1963 (1 letter)

Frisine, Robert: 1967 (1 letter)

Frost, Phillip: 1981 (1 letter)

Fujita, Mr.: 1957 (1 letter)

Fulbright grant: see American Commission for Cultural Exchange with Italy

Fuller, Eve Alsman (Miami, Fl. post office): 1938 (1 letter)

Gabetti: undated (1 letter)

Galarza, Ernesto and Mae: (National Farm Labor Union; National Agricultural Workers Union): undated and 1944-1978 (27 letters); see Landon School for Boys; see Perkins, Milo

Galerie Internationale: 1965 (1 letter)

Galerie Schindler: undated and 1965-1972 (12 letters)

Gallaudet College: 1963-1970 (14 letters, including a contract)

Gallenga: 1951 (1 letter)

Gaspari, Mario P.: 1966 (1 letter)

Georgetown University Fine Arts Club: 1960 (1 letter)

George Washington University: 1965 (1 letter)

Giovannetti, Alberto: 1966 (1 letter)

Giovanni, Sebastiani: 1921 (1 letter)

Giricosnelli, Emilio: 1918 (1 letter)

Gobbi, Adolfo: 1928 (1 letter)

Goldberg, Dorothy and Arthur: 1964-1965 (3 letters)

Goldsmith, Alberto R.: 1947-1968 (3 letters)

Gonzales, Angelino: 1951-1975 (11 letters)

Gotham Book Mart: 1968 (1 letter)

Graham, John: 1948 (1 letter)

Granati, Pasquale: 1918 (1 letter)

Grand Central Art Galleries: 1956 (1 letter)

Grant, Blanche C.: undated (1 letter)

Grebanier, Barnard: 1961 (1 letter)

Greene, Hope Margaret: 1926-[1927] (2 letters)

Gualdi, Luigi: 1947-1949 (11 letters)

Guarino, A.: undated letters to Mabel McMahon and Guiolitta Sartori

Guggenheim: John Simon Guggenheim Memorial Foundation: 1937-1971 (5 letters)

Guggenheim: Solomon R. Guggenheim Museum: 1956-1960 (3 letters)

Gutheim, Frederick: 1956 (1 letter)

Haarlem House, Inc.: 1926 (1 letter)

Hahn, Rosemarie E.: 1961 (1 letter)

Halle, Kay: 1972 (1 letter)

Hammerle, Brooke: 1966 (1 letter)

Hansen, Jane: 1954 (1 letter)

Hardman, Virginia: undated (1 letter)

Harrison & Abramovitz, Architects: 1956 (1 letter)

Harrison, Charles H.: 1949 (1 letter)

Hart, Earl: mentioned in an undated letter

Hartley, Bettina: undated (1 letter)

Hartman Galleries, Inc.: 1973 (1 letter)

Hayward: City of Hayward, California: 1965 (1 letter)

Health, Education, and Welfare Employees' Association: 1962 (1 letter)

Hechinger, June: undated (1 letter)

Heilbron, Edna: 1972 (1 letter)

Heinemann, Mark: undated (1 letter)

Herzbrunn, Josef: 1949 (1 letter)

Heywood, Carmen: 1948 (1 letter)

Hollander, Cornelia: undated (1 letter)

Holvey, Sam: undated (1 letter)

Holy See: Permanent Observer of the Holy See: 1966 (1 letter)

Hom Gallery: 1972 (1 letter)

Horrocks, E. Joan: 1971 (1 letter)

Hotel Beau Site, Rome: 1928 (1 letter)

Hotel de la Ville, Rome: 1928 (1 letter)

Hotel Hassler, Rome: 1928 (1 letter)

Hotel Pension Alexandra, Rome: 1928 (1 letter)

Hotel Windsor, Rome: 1928 (1 letter)

Hough, Edith Louise: 1952 (1 letter)

Illinois State Historical Library: 1965 (1 letter)

Il Messaggero: 1928 (1 letter)

Immigration and Naturalization Service: 1976 (1 letter)

Institute for International Education: 1963 (1 letter)

Institute for the Arts of the Archdiocese of Washington: 1978 (2 letters)

Institute of Contemporary Art: 1956 (2 letters)

Institute of Gerontology: 1970 (1 letter)

International Directory of Arts: 1982 (1 letter)

Isherwood, Christopher: undated (1 letter)

Istituzione Maddalena Aulina: 1966 (1 letter)

Jacometti, Nesto: 1972 (1 letter)

Jaffe, Norman: 1964 (1 letter)

Janus, Virginia: 1929 (2 letters)

Jelleff: Frank R. Jelleff, Inc.: 1949 (1 letter)

Jennoff?, Peter L.: undated (1 letter)

Jewish Social Service Agency: 1967 (1 letter)

Johnston, L. R.: 1932 (2 letters)

Jones, Dorothea and Stuart E.: 1955 (3 letters)

Jones, George Lewis: 1961 (1 letter)

Jopp, Fred Gilman: 1936 (1 letter)

Josephy, Diane ( -- Time): -- 1968 (1 letter)

Junior Council of the Museum of Modern Art: 1956-1960 (2 letters)

Jurin, Benjamin M.: undated (1 letter)

Kagy, Virginia and Sheffield: 1948 (1 letter)

Kahles, Jessie: 1940-1948 (3 letters)

Kennedy, Jacqueline: May 19, 1960

Letters from White House Social Secretary: 1961-1963 (5 letters)

Kerensky, Alexander: 1965 (1 letter)

King Features Syndicate, Inc.: 1943 (1 letter)

King, Marion: 1952 (1 letter)

King, Rufus: 1975 (1 letter)

Kneifel, Mr.: 1956 (1 letter from Lazzari)

Kramer, Herbert (Congregazione del Preziosissimo Sangue): 1950 (1 letter)

Krishnamurti, Jack: 1959 (1 letter)

Kurzland, Toby: 1991 (1 letter)

La Follia: 1926 (1 letter)

La Galleria: 1972 (1 letter)

Landon School for Boys: 1944 (1 letter re: Ernesto Galarza)

Landu, Consuelo: 1948 (1 letter)

Lanier, Fanita: see Ruffiner, Willis E.

La Revue Moderne: 1961 (3 letters)

La Rocca, Principessa de: 1968 (1 letter)

Latif, Bilkeer: undated (1 letter)

Law, L. S.: 1932 (2 letters of recommendation for Lazzari)

Lawton, Thomas: 1974 (1 letter)

Lazzari, Attilio: 1922 (1 letter)

Lazzari, (Grace) Elizabeth Paine: undated and 1920-1951 (69 letters)

Letters from Pietro to Elizabeth: 1928-1929 (52 letters)

Lazzari, Evelyn Cohen: undated and 1948-1965 (6 letters)

Letters from Pietro to Evelyn: undated and 1932-1966 (49 letters, including one with a photograph of friends)

Lazzari, Fernanda (sister) and Vittoria: 1915-1949 (11 letters)

Lazzari, Leno: 1918-1929 (2 letters)

Lebanon: Embassy of Lebanon, Washington: 1956 (1 letter)

Lee, Amy: Nov 01, 1974 (letter from Lazzari); 1975 (1 letter)

Lee, Dal: 1954 (1 letter)

Lee, Pearl: undated (1 letter)

Levy, Sid A.: undated (1 letter)

Library of Congress: undated and 1965-1982 (6 letters)

Licciardi, Pietro: undated (1 letter)

Licinio Cappelli: 1949 (1 letter)

Life Insurance Company of Georgia: 1954 (2 letters)

Little Gallery: see Carolan, Anna B.

Lobatini, G.: undated (1 letter)

Loccatelli, Giulio: 1956-1958 (2 letters)

Lombaro (?), Patricia: 1961 (1 letter)

Loughlin, Dr. John J.: 1936-1940 (2 letters)

Lousine, L.: undated (1 letter)

Luccia, Enrico: undated and 1928-1977 (19 letters)

Lucibello, Luigi: Jan 12, 1965

Lucifero, Alfonso: Jan 13, 1912 (letter from Ministero delle Finanze)

Macpherson, Suzanne: 1957 (2 letters)

Maddux, Yolanda A.: undated (1 letter)

Maezawa, Kezuko: 1956 (1 letter)

Magrini, Livia: 1967-1970 (5 letters)

Makovich, L.: 1950 (1 letter)

Manca, Albino (sculptor): 1971 (1 letter)

Mangravite, Peppino (Columbia University): 1956 (1 letter)

Mann: Charles Z. Mann Gallery: 1966 (1 letter)

Mannarino, Matina: 1968 (1 letter)

Maresciallo, Mr.: undated (1 letter from Lazzari)

Mark, Ginevra: undated (1 letter)

Marlor, Clark S.: 1981 (1 letter)

Marquis Company: 1950-1981 (3 letters)

Maryland: University of Maryland: 1972 (1 letter)

Mattei, Cristina: 1950 (a death announcement)

Mayfield, Mrs. David: 1938 (1 letter)

McAfee, Don: 1955-1969 (3 letters); see Watergate Construction Corp.

McGinnis, Paul: 1988 (1 letter)

McIlhenny, Henry P.: 1949 (1 letter)

McIntyre, W. A.: undated (1 letter)

McKeogh, Elsie: 1954 (1 letter)

McKonish, Margaret: 1949 (1 letter)

McMahon, Mabel: undated (1 letter from A. Guarino)

Meert, Margaret Mullin: 1948 (2 letters)

Meeting House Gallery: 1972 (1 letter)

Meguin, A.: undated (1 letter)

Menard, G.: 1928 (1 letter)

Men of Achievement: 1974-1975 (2 letters)

Mensh, Elizabeth: 1978 (1 letter)

Merritt, Polly: undated (1 letter)

Messina, Joseph R.: 1971 (1 letter)

Metropolitan Museum of Art: 1951 (1 letter)

Miami Museum of Modern Art: 1965-1968 (7 letters)

Miki, Suizan: undated (1 letter)

Mills, Harrington: 1933 (1 letter)

Ming, Wang (National Art & Frame Co.): 1968 (1 letter)

Mitchell, Austin: 1946 (1 letter)

Montgomery County Art Association: 1961 (1 letter)

Moore, Norman Perry: 1927-1928 (2 letters)

Moore, Paul: 1970 (1 letter)

Morey, Mr.: [1950] (1 letter)

Morott, Aristodemi: 1918 (1 letter)

Morrison, Lillian: 1971 (1 letter)

Mortot, Virgilio: undated and 1962-1964 (4 letters)

Morvidi, Maria: 1918 (1 letter)

Moskin, Ruth: undated (1 letter)

Mullins, Mrs.: undated (1 letter)

Museum of Fine Arts, Boston: undated and 1955 (2 letters)

Museum of Fine Arts, Houston: 1964 (2 letters)

Museum of Modern Art: 1949-1973 (3 letters); see Junior Council of the Museum of Modern Art

Myers, Eugene Ekander: 1976 (1 letter)

National Academy of Design: [1939] (1 letter)

National Aeronautics and Space Administration: 1962-1973 (5 letters including 4 photographs of artwork and 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon; an Apollo translunar/transearth trajectory plotting chart; an Apollo lunar orbit chart; and an Apollo earth orbit chart); see Cooke: Hereward Lester Cooke Foundation

National Cyclopedia of American Biography: 1979 (1 letter)

National Gallery of Art: undated and 1956-1974 (7 letters)

National Housing Center: 1961 (2 letters)

National Investigations Committee on Aerian Phenomena: 1957 (1 letter)

National Society of Arts and Letters: 1952 (1 letter)

National Society of Mural Painters: 1940-1963 (3 letters)

National Student Art Tour: 1949 (1 letter)

National Sugar Refining Company: 1938 (1 letter)

Neale, Rosamund: 1961 (1 letter)

Neilson, Robert Hude: 1928 (1 letter)

Nelson, Helen Ewing: undated (1 letter)

New American Library: 1953 (1 letter)

Newlin, Ben: 1979 (1 letter)

New Society for Art and Literature: 1947 (1 letter)

Nichol, Jean: 1926 (2 letters)

Nichol, Nella: 1929 (1 letter)

Nilsen, Laila: 1946 (1 letter)

Nobili, A.: undated letter written on reverse of photograph of Nobili painting

Nuova Critica Europea: 1969 (1 letter)

O'Connor, Don: 1960 (1 letter)

O'Connor, FrancisV.: 1968 (1 letter)

Oggi: 1967 (1 letter)

Okamoto, Yoichi R.: undated (1 letter)

Oklahoma Art Center: 1969 (1 letter)

Oklahoma Museum of Art: 1988 (1 letter)

Olson: Charles Olson Archives, University of Connecticut: 1975-1976 (3 letters)

Oregon State Library: 1957 (1 letter)

Orlando, Teresa: undated and 1949-1971 (3 letters)

Ottiani, Giuseppe: 1909 (1 letter)

Palmieri, Renato: 1928 (1 letter)

Park, Marlene: 1979 (1 letter)

Pavia, Dagoberto: 1959 (1 letter)

Pavia, Goffredo: 1921-1924 (7 letters)

Palmieri, Renato: 1957 (1 letter)

Palombi, Angelo: 1921 (1 letter)

Pan American Union: 1944-1945 (2 letters)

Parsons, Betty (Betty Parsons Gallery): undated and 1949-1973 (9 letters)

Passedoit Gallery: 1956 (1 letter)

Pensione Boos, Rome: 1928 (1 letter)

Pensione Girardet, Rome: 1928 (1 letter)

Perentine, Giuseppe (Nino): 1927-1950 (3 letters)

Peresson, I.: 1971 (1 letter)

Peretti, Luigi: undated (1 letter)

Perkins, Milo: 1944 (1 letter re: Ernesto Galarza)

Perna, Giorgio: undated (1 letter)

Peterson, Esther: 1978 (1 letter)

Philadelphia Department of Public Property: 1960 (1 letter)

Philadelphia Museum of Art: 1965-1966 (3 letters)

Phillips, Duncan: 1954 (1 letter)

Pirucchini, Maria: 1927 (1 letter)

Pope Paul VI: mentioned in 7 letters dated 1966, including 2 photographs of Lazzari with bust of the Pope; see Fiore, Ilario; see Giovannetti, Alberto; see Institute for the Arts of the Archdiocese of Washington

Preissler, Audrey: 1970 (1 letter)

Print Collector's Quarterly: 1949 (1 letter)

Print Council of America: 1963 (1 letter)

Prospersin, Eugenio: 1941 (1 letter)

Pyramid Club: 1956 (1 letter)

Quick, Robert B.: 1972 (1 letter)

Quinzi, Amerigo: 1920-1925 (2 letters)

Rady, Cabell: 1958 (1 letter)

Rahill, William Allen: 1954 (1 letter from Lazzari)

Raker, J. M.: 1928 (1 letter)

Ramakrishna-Vivekananda Center: undated (1 letter)

Randall, Megan: 1975 (1 letter)

Rassegna Nazionale di Arti Figurative: 1948 (1 letter)

Rattu, Salvatore: undated and 1926-1966 (13 letters)

Reeves, Rosser: 1947 (1 letter)

The Reporter -- magazine: 1956 (1 letter)

Reuther, Victor: see United Auto Workers

Reynolds, D.: 1939 (1 letter from Lazzari)

Rhine, J. B.: 1949 (1 letter)

Ricca, Roberta: undated (1 letter)

Rieder (?), Baronessa: 1934 (1 letter)

Rioffo, Angela: 1959-1962 (2 letters including 2 photographs of friends)

River Road Gallery, Louisville, Ky.: 1941-1943 (4 letters)

Rivoi, Swami: undated (1 letter)

Robson, John: 1958 (1 letter)

Rocca Sinibalda: 1920 (1 letter)

Rockefeller, Nelson A.: 1946 (1 letter)

Rodman, Selden: undated (1 letter)

Rollins College: 1933-1942 (4 letters)

Roosevelt, Eleanor: Nov 09, 1945 and a letter dated 1964 concerns a viewing of the Roosevelt portrait bust); see White House; see Roosevelt Library

Roosevelt: Franklin D. Roosevelt Library at Hyde Park: 1963-1965 (8 letters, including typescripts of speeches); see United Auto Workers

Ross, Fred: 1949 (1 letter)

Rosso, Giulio: undated letter of recommendation by Lazzari

Roth, Maurice: 1993 (1 letter including 2 photographs of Lazzari's work)

Rothschild, Anselm A.: undated (1 letter)

Rowan, Edward: see Federal Works Agency

Rowan, Leata: undated (1 letter)

Rowantrees Pavilion: see Thompson, Lin

Rowin, Fran: 1976 (2 letters)

Rowland, Creelman: undated (1 letter)

Ruffner, Willis E. (lawyer for Fanita Lanier): 1944 (1 letter)

Russell, N. F. S.: 1932 (1 letter)

Rust, John and Thelma: 1952-1954 (38 letters, including an application from Lazzari for a grant from the John Rust Foundation, including a clipping about Rust and 3 photographs of cotton pickers); see West Tennessee Historical Society

St. Louis, Bertha: undated (1 letter)

Sanderson, W. A. (Calouste Gulbenkian Foundation): 1958 (1 letter)

San Francisco Museum of Art: 1967 (1 letter)

Sartori, Guiolitta: undated letter from A. Guarino

Satterlee & Smith, Architects: 1962 (1 letter)

Savini, Renata: 1965-1967 (3 letters)

Scheetz, June Rice: undated (1 letter)

Schoenberg, Rose: 1967 (1 letter)

Schurmer, Zaira E.: 1947 (2 letters)

Schwarz -- magazine: 1957 (1 letter)

Scigliano, Peppino Cosenza: 1910 (2 letters)

Sebastiani, G.: undated (1 letter)

Selmi, Gabriella: undated (1 letter)

Sevareid, Eric: 1956 (1 letter)

Sheen, Rev. Fulton J.: 1970 (1 letter)

Simotti, Aristide (friend who was prisoner of war): 1911-1925 (62 letters)

Sinisca: undated (1 letter)

Sirony, Simone: 1955-1964 (8 letters)

Smart: David and Alfred Smart Museum of Art: 1991-1996 (4 letters)

Smith, George: 1926-1927 (2 letters)

Smithsonian Institution: undated and 1947-1976 (8 letters)

Snyder, Nell H.: 1969 (1 letter)

Society of American Etchers: 1944 (1 letter)

Society of American Graphic Artists: 1956 (2 letters)

Society of Washington Artists: 1960-1961 (2letters)

Society of Washington Printmakers: 1976 (2 letters)

Sound View Press: 1991 (1 letter)

Spiral Group: see Strantin, Wally

Stevenson, Adlai: see White House

Stewart, George: 1932 (1 letter)

Strantin, Wally and Edward: 1950-1951 (2 letters)

Stroppoghetti, Arturo: 1923 (1 letter)

Stubbs, Kenneth: [1948] (1 letter)

Studer, Alfredo and Clara: 1947-1976 (15 letters)

Sweeney, James Johnson: 1949 (1 letter)

Syracuse University: 1964 (1 letter)

Taylor, Prentiss: 1972 (1 letter)

Teller, Douglas H.: 1963 (1 letter)

Terenz, Don Umberto: 1960 (1 letter)

Thames and Hudson, Ltd.: 1974 (1 letter)

Thomas, Norman: 1963-1965 (2 letters)

Thomen, Luis Francisco (Ambassador from Dominican Republic): undated (1 letter)

Thompson, Lin: 1950-1951 (3 letters)

Thurston, Charles D.: 1927-1928 (4 letters)

Tibet Society: 1975 (1 letter)

Timpenado, Cesare: 1927 (1 letter)

Tirrocelli (?), A.: 1917 (1 letter)

Toledo Museum of Art: 1957 (1 letter)

Toscanini, Arturo: mentioned in 2 letters dated 1928

Tosello, Alfredo: 1947-1949 (2 letters)

Tosi, Elisa: 1929 (1 letter)

Treasury Department, Section of Painting and Sculpture: 1936-1939 (53 letters concerning the Arlington, N.J. post office, the Sanford, N.C. post office, and the New York World's Fair Sculpture Competition)

Truman: Harry S Truman Library at Independence, Mo.: 1963 (1 letter)

Turkish Embassy, Washington, D.C.: 1958-1959 (4 letters including a photograph of Lazzari)

Tyler, Richard O.: 1958 (1 letter)

Ugolini, Luigi: 1969 (1 letter)

Ungar, Harold and Mildred: 1965 (1 letter)

United Auto Workers (U.A.W.): 1963-1971 (9 letters); see Debs: Eugene V. Debs Foundation

United Scenic Artists of America: [1939] (1 letter)

United States Civil Service Commission: 1944 (2 letters)

United States Department of Agriculture: 1945-1967 (10 letters)

United States Department of Labor: undated (1 letter)

United States Information Agency: 1959 (1 letter)

United States Information Service: Jul 09, 1964

University Settlement: 1946 (2 letters)

Upham, Elizabeth: 1948 (1 letter)

Van De Bries, Enri: 1973 (1 letter)

Vangell?, Raphaele: undated (1 letter)

Van Smith, Anne: 1949 (1 letter)

Venice Biennale: 1948-1954 (3 letters)

Vermont Marble Company: 1955 (1 letter)

Veschi, Signora: undated (1 letter)

Vickery, Ruth Bacon: 1929 (1 letter)

Victoria Hotel, Rome: 1928 (2 letters)

Virginia Museum of Fine Arts: 1956 (1 letter)

Visher, John: 1956 (1 letter)

Vosseller, Harold: 1948 (1 letter)

Wagner, Edward A. (Dell Publishing Co.) and Julia: 1954-1976 (5 letters)

Waldo, M. V.: 1945 (1 letter)

Warren, Susan and Louise: undated (1 letter)

Washington Gallery of Modern Art: undated (1 letter)

Washington is Wonderful: see Jones, Dorothea and Stuart E.

Washington-Lee High School: 1961 (1 letter)

Washington, Walter E. (Mayor of Washington, D.C.): 1976 (1 letter); Oct 19, 1976 (1 letter from Franz Bader)

Washington Water Color Association: undated and 1961 (3 letters)

Watergate Construction Corp.: 1968-1969 (4 letters); see Don McAfee

Watson, Ernest W. (editor, -- Art Instruction -- and -- American Artist -- ): 1939-1949 (3 letters)

Watson, Forbes: see Art in Federal Buildings, Inc.

Weil, Frank L.: 1926-1936 (2 letters)

Weinmann, Eric: 1980 (1 letter including a photograph of artwork)

Wells, John K. (Equitable Life Assurance Society): undated (1 letter)

West Tennessee Historical Society: 1952 (3 letters); see Rust, John

Weyhe: E. Weyhe Gallery: 1949 (1 letter)

White, Sarah: 1929 (1 letter)

Whitney Museum of American Art: 1939-1980 (11 letters)

Whyte Gallery: 1944-1950 (2 letters)

Widdemer, Kenneth D.: 1928 (1 letter)

White House: 1965-1968 (4 letters concerning the presentations of the busts of Eleanor Roosevelt and Adlai Stevenson)

Whittemore, Manvel: 1936 (1 letter enclosing poems)

Who's Who in America: 1979-1980 (2 letters)

Works Progress Administration: 1937-1938 (4 letters)

Workshop Center of the Arts: 1953 (1 letter); see Berkowitz, Ida and Leon

WRC Radio: 1966 (1 letter including a photograph of Lazzari)

WRC-TV: 1967 (1 letter)

Young, June: undated (1 letter)

Young, Louis Butler: 1971 (1 letter)

Zerega, Andrea: 1972-1976 (4 letters, including a résumé)

Collection Restrictions:

The collection is open for research. Use requires an appointment.

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:

Pietro Lazzari papers, 1878-1998. Archives of American Art, Smithsonian Institution.

Sponsor:

Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.lazzpiet, Series 2

See more items in:

Pietro Lazzari papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw90a9236aa-aee5-4d32-8a86-8390dda70f53

EDAN-URL:

ead_component:sova-aaa-lazzpiet-ref18

Creator:

Smithsonian American Art Museum  Search this

Type:

YouTube Videos

Uploaded:

2017-04-07T23:57:09.000Z

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_iAh4BY6T3xY

Collection Creator:

Lippard, Lucy R.  Search this

Container:

Box 15, Folder 30

Type:

Archival materials

Date:

1970-1984

Collection Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Use of archival audiovisual recordings with no duplicate access copy requires advance notice. Contact Reference Services for more information.

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:

Lucy R. Lippard papers, 1930s-2007, bulk 1960s-1990s. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

See more items in:

Lucy R. Lippard papers

Lucy R. Lippard papers / Series 2: Correspondence / 2.1: Correspondence by Name

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99a224ee4-2b06-4dfd-b21c-5eebf3ef5d3e

EDAN-URL:

ead_component:sova-aaa-lipplucy-ref1850

Collection Creator:

Miller, Dorothy Canning, 1904-2003  Search this

Container:

Box 20, Folder 12

Type:

Archival materials

Date:

1977-1979

Collection Restrictions:

Use of original papers requires an appointment.

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:

Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art

See more items in:

Dorothy C. Miller papers

Dorothy C. Miller papers / Series 9: Works Progress Administration Federal Art Project Files

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9ddbfed56-4562-47ad-b70a-dc17d9821a54

EDAN-URL:

ead_component:sova-aaa-milldoro-ref1748

Creator:

Huse, Marion, 1896-1967  Search this

Type:

Sketchbooks

Topic:

Women artists  Search this

Women painters  Search this

Women educators  Search this

Women printmakers  Search this

Women arts administrators  Search this

Theme:

Sketches & Sketchbooks  Search this

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)6260

(DSI-AAA_SIRISBib)216595

AAA_collcode_husemari

Theme:

Sketches & Sketchbooks

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_216595

Creator:

Huse, Marion, 1896-1967  Search this

Extent:

1.8 Linear feet

Type:

Collection descriptions

Archival materials

Sketchbooks

Date:

1884-1988

Scope and Contents:

Papers of artist Marion Huse provide a fairly detailed account of her artistic career, exhibitions, and her related travels, through photographs, picture postcards, exhibition catalogs and announcements, clippings, sketchbooks, correspondence, sales records, and a guest register from a memorial exhibition. Her teaching career and work as a WPA administrator is not well documented.

The correspondence dates from 1932-1985, and includes personal corresondence with her husband, Dr. Robert Barstow, June-Nov. 1946, and a small group of art related letters from art organizations, artists, galleries, and others. Among the correspondents are the Boston Society of Independent Artists, Howard Cook, the Ford Motor Company, George Grosz, Tricker Galleries, and the Works Progress Administration.

Included among the photographs are many portraits of Huse and her family, members of the Barstow family and their residences in Pownal, Vermont and coastal Massachusetts, Huse with colleagues and friends, her Springfield, Mass. studio and art classes, and many of her art work. Of note is an extensive collection of travel postcards and travel photographs she assembled during her travels, ca. 1936-1962, and used as source material for her paintings, showing scenes from an ocean crossing, France, Germany, Italy, Holland, Belgium, Caribbean countries, Mexico, Massachusetts, Vermont, and other New England locales, and New Mexico.

Sketchbooks, 1928-ca. 1960s, contain ink drawings, watercolors, and pencil sketches depicting urban streets in Massachusetts, rural New England scenes, circus scenes, buildings, and locales in Maine and Nova Scotia.

Sales receipts are primarily from the Southern Vermont Artists, Inc., 1935-1953.

Biographical / Historical:

Painter, printmaker, teacher, arts administrator; Mass.

Provenance:

Donated 1999 by Fuller Museum of Art, which received the papers through Huse's executor, along with over 5,000 paintings and works on paper comprising the Marion Huse Collection.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.

Occupation:

Painters -- Massachusetts  Search this

Printmakers -- Massachusetts  Search this

Art teachers -- Massachusetts  Search this

Arts administrators -- Massachusetts  Search this

Topic:

Women artists  Search this

Women painters  Search this

Women educators  Search this

Women printmakers  Search this

Women arts administrators  Search this

Genre/Form:

Sketchbooks

Identifier:

AAA.husemari

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9a40aa7ef-ac92-430f-81bd-c87949a0124c

EDAN-URL:

ead_collection:sova-aaa-husemari

Creator:

Marsh, Felicia Meyer, 1912-1978  Search this

Meyer, Herbert W. (Herbert William)  Search this

Subject:

Meyer, Anne  Search this

Marsh, Reginald  Search this

Goodrich, Lloyd  Search this

Bacon, Peggy  Search this

Evergood, Philip  Search this

Hopper, Edward  Search this

Type:

Drawings

Diaries

Scrapbooks

Sketchbooks

Topic:

Women artists  Search this

Women painters  Search this

Theme:

Diaries  Search this

Women  Search this

Lives of American Artists  Search this

Record number:

(DSI-AAA_CollID)7850

(DSI-AAA_SIRISBib)210017

AAA_collcode_marsfeli

Theme:

Diaries

Women

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_210017

Creator:

Marsh, Felicia Meyer, 1912-1978  Search this

Meyer, Herbert W. (Herbert William)  Search this

Meyer, Anne  Search this

Names:

Bacon, Peggy, 1895-1987  Search this

Evergood, Philip, 1901-1973  Search this

Goodrich, Lloyd, 1897-1987  Search this

Hopper, Edward, 1882-1967  Search this

Marsh, Reginald, 1898-1954  Search this

Extent:

4.9 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Scrapbooks

Sketchbooks

Date:

circa 1880-1977

Summary:

The papers of painter Felicia Meyer Marsh and the Meyer family measure 4.9 linear feet and date from circa 1880 to 1977. The collection is comprised of biographical materials including family business records, writings by Marsh, and other family documents; and Marsh's correspondence with her husband Reginald Marsh, her parents Herbert and Anne Meyer, and with numerous artists such as Peggy Bacon, Alexander Brook, Olin Dows, Philip Evergood, Lloyd Goodrich, Edward Hopper, George Tooker, and Andrew Wyeth after her husband's death in July 1954. Also found are 24 diaries belonging to Marsh and her parents; printed materials documenting the art careers of Marsh and Herbert Meyer; artwork including 20 sketchbooks; and photographic materials containing 19th and 20th-Century photographs of Felicia and Reginald Marsh, the Meyer family, and friends.

Scope and Contents:

The papers of painter Felicia Meyer Marsh and the Meyer family measure 4.9 linear feet and date from circa 1880 to 1977. The collection is comprised of biographical materials including family business records, writings by Marsh, and other family documents; and Marsh's correspondence with her husband Reginald Marsh, her parents Herbert and Anne Meyer, and with numerous artists such as Peggy Bacon, Alexander Brook, Olin Dows, Philip Evergood, Lloyd Goodrich, Edward Hopper, George Tooker, and Andrew Wyeth after her husband's death in July 1954. Also found are 24 diaries belonging to Marsh and her parents; printed materials documenting the art careers of Marsh and Herbert Meyer; artwork including 20 sketchbooks; and photographic materials containing 19th and 20th-Century photographs of Felicia and Reginald Marsh, the Meyer family, and friends.

Arrangement:

The collection is arranged as six series.

Series 1: Biographical Material, 1907-1976 (Box 1; 0.2 linear feet)

Series 2: Correspondence, 1903-1977 (Box 1; 0.8 linear feet)

Series 3: Diaries, 1914-1953 (Box 1-3; 1.4 linear feet)

Series 4: Printed Material, 1931-1977 (Box 3, OV 13; 0.2 linear feet)

Series 5: Artwork, 1892-1977 (Box 3-6, OVs 7-13; 1.5 linear feet)

Series 6: Photographic Material, circa 1880-1976 (Box 4-5, OV 14; 0.8 linear feet)

Biographical / Historical:

Felicia Meyer Marsh (1912 or 1913-1978) was a painter in Dorset, Vermont and was married to artist Reginald Marsh from 1934 until his death on July 3, 1954.

Marsh was born in New York City to artists Herbert and Anne Norton Meyer. She studied at The Finch School, the Art Students League, and in Paris, France. Marsh was known for her landscapes of Vermont where she spent time during her youth and much of her time as an adult when she was not in New York City. In addition to landscapes, Marsh also painted portraits, figures, cityscapes, interiors, and nature scenes.

In her early career, Marsh showed her work in group exhibitions during the 1930s and 1940s. She held several solo exhibitions from the 1940s until 1974 at the Wakefield Gallery, Macbeth Gallery, Frank K.M. Rehn Gallery, and others.

Marsh died in 1978 in New York City.

Provenance:

The Felicia Meyer Marsh and Meyer family papers were donated in 1979 by the Felicia Meyer Marsh estate via executor Elizabeth Barlett Sturges, friend of Marsh. Other material was transferred from the Reginald Marsh papers in 2005.

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.

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 -- Vermont  Search this

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

Topic:

Women artists  Search this

Women painters  Search this

Genre/Form:

Drawings

Diaries

Scrapbooks

Sketchbooks

Citation:

Felicia Meyer Marsh and Meyer family papers, circa 1880-1997. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.marsfeli

See more items in:

Felicia Meyer Marsh and Meyer Family papers

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw97d37d9f4-5389-4244-b7cf-b01cfa3fcbc3

EDAN-URL:

ead_collection:sova-aaa-marsfeli

Artist:

Cornell, Joseph  Search this

Names:

Benton, Elizabeth Cornell  Search this

Cornell, Robert  Search this

Extent:

196.8 Linear feet

186 Nitrate negatives

Type:

Collection descriptions

Archival materials

Nitrate negatives

Photographs

Place:

New York, New York

Date:

1750-1980, bulk 1930-1972

Summary:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Scope and Contents:

The Joseph Cornell Study Center collection measures 196.8 linear feet and dates from 1750 to 1980, with the bulk of the material dating from 1930 to 1972. Documenting the artistic career and personal life of assemblage artist Joseph Cornell (1903-1972), the collection is primarily made up of two- and three-dimensional source material, the contents of the artists' studio, his record album collection, and his book collection and personal library. The collection also includes diaries and notes, financial and estate papers, exhibition materials, collected artifacts and ephemera, photographs, correspondence, and the papers of Robert Cornell (1910-1965) and Helen Storms Cornell (1882-1966), the artist's brother and mother.

Correspondence is with collectors, museums, galleries, artists, friends, family, charity organizations, admirers and those admired by Cornell, and World War II European pen pals. Discussions about the appreciation, donation, sale, purchase, and exhibition of Cornell's works are frequent, with the inclusion of shipping and loan documentation or notices of payment installments. Galleries and museums frequently request that Cornell agree to an exhibition, which he often declines, and fans request free works be mailed or affordable works be sold to them. With friends, artists, and those he admired, Cornell discussed topics that fascinate him, included bits of poetry or philosophical musings, sent clippings or a collaged letter, and occasionally discussed a project or work in process. After World War II, when so many were displaced by the war in Europe, Cornell answered ads for pen pals in the "Christian Science Monitor," often responding to requests for clothing or other goods, and sometimes exchanging many letters over several years. Family correspondence is with his mother, sisters, brother, and others, and often notes activities of the day, foods eaten, and general musings, as well as occasionally mentioning a project or artwork. Correspondents of note include Stan Brakhage, Betty Freeman, Charles Henri Ford, Allegra Kent, Yayoi Kusama, Roberto Matta, Marianne Moore, Octavio Paz, Sonia Sekula, Pavel Tchelitchew, Parker Tyler, Dorothea Tanning, and Betsy von Furstenberg, among others.

Cornell was often preoccupied with his thoughts, feelings, memories, a project or thematic "exploration," and jotted notes on seemingly any surface available. Notes and musings are on napkins, the backs of envelopes, newspaper clippings, and paper bags from record and magazine stores. Frequently, an observation would trigger a lengthy nostalgic moment, or a "feé," fairy-like child or girl, would capture his imagination and lead him to thoughts of 18th-century ballerinas and silent film stars. Cornell wrote longer diary notes, sometimes expanding on an earlier notation or emotion, and often wrote when he experienced trouble sleeping or woke early. Drafted letters to imaginary muses or admired individuals are interspersed among diaries, often revealing Cornell's yearnings to find emotional intimacy and human connection. Over time, Cornell revisited his notes and occasionally made further notations about renewed thoughts on a topic, dating the note with "revisited" or "reviewed." Notes are often written in a stream-of-consciousness style, for example, jumping from the mention of a record album or composer, to a ballerina of the same period, a note about a French poet, the memory of childhood, or an observation made earlier in the day, all in the space of a few lines. Notes about artistic processes or meanings behind works or images do occasionally emerge from the tangled, poetic notations. Notes also often provide insights into Cornell's internal emotional state and give clues about his intentions behind an artwork or a particular thematic fixation.

Financial materials document Cornell's professional and personal business activities, including the sale of artworks, annual expenses for supplies and household incidentals, payments and schedules for personal assistants, receipts for donations to charities and nonprofits, and tax documents. There is also information about who worked as assistants, or "helpers," in his later years and where Cornell purchased art supplies. Additionally, specific details are documented through receipts and invoices, such as what kind of paint he purchased. Estate records include preparations made for Cornell's artworks after his death, and clippings about other deceased artist's estates show that he thought often about such arrangements in his later years.

Exhibition files highlight several select solo exhibitions for Cornell, as well as preparations and planning for the "Robert Cornell: Memorial Exhibition" in honor of his brother in 1966. Also included are several early exhibition catalogs and announcements, including "Surréalisme" (January 9-29, 1932) and "Exhibition of Objects (Bibloquet) by Joseph Cornell" (December 6-31, 1939) at the Julien Levy Gallery, and "Romantic Museum: Portraits of Women, Constructions and Arrangements by Joseph Cornell" (December 1946) at the Hugo Gallery.

Film projects and collected film materials consist of files related to Cornell's various experimental film projects: "Aviary," "Cappuccino," "Centuries of June," "Fable for Fountains," "Nymphlight," "Serafina's Garden," and unrealized film scenario "Monsieur Phot." Files include film-making notes, correspondence, and photographs. Cornell's interest in film also led him to collect film-related materials, such as film stills, film posters, and screening programs. Scattered correspondence documents the interest other institutions and individuals had in purchasing and viewing his collection. Though most of his collected film stills and movie posters were donated to the Anthology Film Archives, film stills from "Escape Me Never" (1935) and "The Passion of Joan of Arc" (1928) are still within the collection, as well as film-screening programs for Cornell's collection of films.

Writing and design projects document Cornell's work authoring articles and designing issues of specialty dance magazine "Dance Index," and his layouts for popular magazines like "Good Housekeeping," "House and Garden," and "Mademoiselle." Other writing projects include brochures dedicated to opera singers Maria Malibran and Giulia Grisi, "Maria" and "Bel Canto Pet." Materials used for these brochures, such as copper photo engraving plates, are also found. Design work includes a series of Christmas cards created with The Museum of Modern Art as well as traced patterns ("textile tracings") and design clippings from Cornell's time working as a "textile designer" for Traphagen Commercial Textile Studio.

Cornell acquired troves of source material from bookstalls, antique stores, sporting good and department stores, hardware stores, and magazine and record shops. He kept boxes and files of material on admired individuals, such as actresses, artists, dancers, and singers, as well as on art projects or thematic "explorations." Files are on general topics such as American history, scientific phenomena, animals, plants, and humankind, as well as on series of artworks, such as "Castles," "Homage to the Romantic Ballet," and "Medici Slot Machines." Focused "exploration" projects include "Celestial Theatre," "Colombier," "GC 44," and "Switzerland," among others. Materials include photographs, photostats, maps, book fragments, autographed letters, notes, collage clippings and cutouts, collected prints and engravings, box and collage fragments, and scattered artifacts.

Collected ephemera includes large amounts of blank postcards and greeting cards, stamps, collected bus and train tickets, food labels and packaging, decals, and other materials. Artifacts are three-dimensional collected objects and source objects, which include found objects from the streets, dried flowers, and pieces of nature gathered from walks around his neighborhood. Cornell may have gathered materials because they inspired a memory or nostalgic feeling, or because they fit with a bin of other similar objects to select from for an artwork in progress.

Photographs found within the collection are of Cornell at work and as a child with family. Also found are assorted personal and family photographs, photographs of Cornell's attic and garage storage, and photographs of his Utopia Parkway house. Photographs of artwork include few installation photographs, in addition to photographs of Cornell's boxes and collages. Collected photographic materials include vintage photographs, such as tintypes, a cyanotype, stereoscopic glass slides, albumen prints, cabinet cards, and cartes-de-visite. Cornell also collected cased photographs, such as daguerreotypes, ambrotypes, and one opalotype. Negatives and photostats were often produced from various prints and even other photographs and used in Cornell's boxes and collages. Images are of men and women, actors, authors, dancers, performers, well-known men and women, royalty, places, and artwork. Photographs of note include those by Hans Namuth of Willem and Lisa de Kooning and of Edward Hopper's bedroom; photographs by Henri Cartier-Bresson; a photograph by Julia Margaret Cameron; photographs by Brassai; and a photogravure by Alfred Stieglitz from "Camerawork."

Also found in the collection are works of art by others, including a sketch by Pavel Tchelitchew, as well as artwork by Cornell, such as unfinished collages, Rorschach drawings or ink blots, and childhood artwork. Printed material includes assorted bulletins, flyers, exhibition materials for other artists, journals, and sent printed membership and charity materials. Magazines, including "View," are also included, and often have annotations by Cornell or a note to "cut" or "review" with page numbers. A large amount of magazine and newspaper clippings are in the collection, sometimes collected with a group of like material by Cornell, and at other times simply gathered in heaps. Occasional annotations are also found on the clippings.

Cornell's personal library and book collection includes over 2500 titles, ranging from fiction, poetry, and cinema, to history, science, and travel. Notable among the titles are "Baedeker's" travel guides that Cornell often sourced for his "Hotel" box series, as well as an influential publication by Max Ernst, "La Femme 100 têtes," which includes a typed letter and exhibition flyer tucked within. Books often have annotations, some fairly extensive, by Cornell, and assorted collected items, notes, and correspondence tucked between pages. Pages were often cut by Cornell, either to make photostats and use in a box, or to file with other thematic "explorations." A wide range of authors and topics provide insight into Cornell's interests and to ideas behind artwork and diary notes. Cornell's collection of record albums includes over 145 records. These contain inserted notes and clippings and are often referenced in diary notes Cornell made, noting a recent album or song listened to while at work in his studio.

The papers of Cornell's mother, Helen Storms Cornell, and his brother, Robert Cornell, are also included in the collection. Both lived with Cornell his whole life, spending the most time with him at their home at 3708 Utopia Parkway. Financial materials document shared responsibilities for billing, utilities, household fixes and chores, and expenditures, and Helen kept detailed financial records in a series of ledgers. Robert notes when he borrowed money from Cornell, or when he means to pay Cornell back for the purchase of a typewriter. Activities documented in diaries also occasionally cross paths with Cornell, noting his visitors or an exchange of letters continued after introductions through Cornell. Personal activities, such as Robert's interest in his train collection and his drawing projects and cartoon series, are also documented.

Arrangement:

The Joseph Cornell Study Center Collection is arranged into 15 series:

Series 1: Biographical Material, 1917-1972 (Boxes 1, 98, OV118; 0.9 linear feet)

Series 2: Correspondence, 1813, 1934-circa 1973 (Boxes 1-8, 86; 6.5 linear feet)

Series 3: Diaries and Notes, 1940-1976 (Boxes 8-10, 98-99, 135, OV108, OV119; 3.5 linear feet)

Series 4: Personal Business and Estate Records, 1950-1978 (Boxes 10-14; 4.1 linear feet)

Series 5: Exhibition Files, 1932-1973 (Box 14; 0.3 linear feet)

Series 6: Film Projects and Collected Film Materials, circa 1924-1972 (Boxes 14-16, 100, 133; 1.6 linear feet)

Series 7: Writing and Design Projects, circa 1910s, 1936-1962 (Boxes 16-18, 86, 100, 131-132, OV109-OV111, OV120-OV122; 3.6 linear feet)

Series 8: Source Material, 1750-circa 1911, 1926-1972 (Boxes 19-49, 86-92, 96, 100-105, 126-130, 132-137, OV112-OV115, OV125; 42.2 linear feet)

Series 9: Artifacts and Ephemera, 1768, circa 1839-1972 (Boxes 49-52; 3.2 linear feet)

Series 10: Photographic Material, circa 1800s-1972 (Boxes 52-56, 80-86, 93, 106, 128, 133, OV116, OV123-OV124; 7.5 linear feet)

Series 11: Artwork, circa 1810-1972 (Boxes 56-57, 107, OV117; 1.2 linear feet)

Series 12: Printed Material, 1855-1972 (Boxes 57-76, 94-96, 107; 16 linear feet)

Series 13: Book Collection and Personal Library, 1722-1980 (99.8 linear feet)

Series 14: Record Album Collection, circa 1925-1974 (3.2 linear feet)

Series 15: Cornell Family Papers, 1910-1980 (Boxes 77-79, 97, 107; 3.2 linear feet)

Biographical / Historical:

Joseph Cornell (1903-1972) was a self-taught assemblage and collage artist, and filmmaker, active in New York City. He was born in Nyack, New York on December 24, 1903, and died of heart failure at his home in Queens, New York on December 29, 1972. The oldest of four children, he was born Joseph I. Cornell to his mother, Helen Storms Cornell (1882-1966), and his father, Joseph I. Cornell (1875-1917). Cornell had two younger sisters, Elizabeth ("Betty") Cornell Benton (1905-2000) and Helen ("Sissy") Cornell Jagger (1906-2001), as well as one brother, Robert Cornell (1910-1965), who had cerebral palsy.

Cornell attended the Phillips Academy, a preparatory boarding school in Andover, Massachusetts, beginning shortly after his father's death in 1917. He attended for four years but did not receive a diploma, and soon began work as a textile salesman for the William Whitman Company in Manhattan. His work took him, by foot, through the city, visiting secondhand bookshops on Fourth Avenue, browsing music stores and magazine shops, and catching early shows at the Metropolitan Opera House. He would occasionally wait outside the stage doors for favorite singers and dancers to emerge, requesting signatures on photographs or bits of costumes.

Around 1926, Cornell joined the Christian Science Church, joined by his brother Robert shortly thereafter, and both continued to be lifelong members. Cornell kept a number of books in his personal library on Christian Science teachings and regularly subscribed to "The Christian Science Monitor."

After living in several rental houses in Bayside, New York, Cornell's mother purchased a house for the family in 1929 in Flushing, Queens. Cornell, along with his mother and brother, would live at 3708 Utopia Parkway, for the rest of their lives. His two sisters soon married and moved away, eventually settling in Westhampton, Long Island and in the poultry-farming business.

With no formal art training to speak of, Cornell's first work was a Max Ernst-inspired collage, "Untitled (Schooner)," created in 1931. He was especially inspired by Ernst's collage novel, "La Femme 100 têtes," published in 1929. French artist Odilon Redon was also among the few artists Cornell named as an influence on his art. His first sculptural works were small, cardboard pill boxes with bits of ephemera, costume adornments, and nature hidden inside. Cornell also created a series of glass bell jar works, placing small trinkets and Victorian-era-like compositions within. It was these early collages and bell jar works that were included in Cornell's debut exhibition, "Surréalisme" (January 9-29, 1932), a group show at the Julien Levy Gallery. Cornell designed the announcement for the show and exhibited alongside Max Ernst, Man Ray, Pierre Roy, Pablo Picasso, Marcel Duchamp, Eugène Atget, George Platt Lynes, Jean Cocteau, and Salvador Dalí. Months later, Cornell was invited to have his first solo show, "Objects by Joseph Cornell: Minutiae, Glass Bells, Shadow Boxes, Coups d'Oeil, Jouets Surréalistes" (November 26-December 30, 1932), also at the Julien Levy Gallery.

In 1932, after eleven years of work, Cornell was laid off from the William Whitman Company due to the Great Depression. Soon after, he took on more responsibility in the church, working part-time as an attendant in the Christian Science Reading Room in Great Neck, New York. Beginning in 1933, he taught Sunday school classes for three years and in 1935, became the Sunday school librarian. However, his religious activities and artistic ventures continued to remain separate.

In the early 1930s, Cornell progressed from movie lover to filmmaker. When Julien Levy began his New York Film Society in 1933, holding screenings of various experimental films in the gallery, Cornell began buying and collecting films and film stills in earnest. He set up a 16-millimeter projector in his home to screen favorites, such as those by Georges Méliès, D.W. Griffith, and Louis Feuillade. His collection quickly grew to over 2,500 film stills and several hundred films, and included silent era films, such as nature documentaries, goofy newsreels, travelogues, early cartoons, and slapstick comedies, as well as several feature films. In 1933, Cornell wrote a screenplay, or "scenario," entitled "Monsieur Phot." Between 1935 and 1937, Cornell also occasionally created publicity photomontages for Universal and Columbia studios. Of the nearly thirty films Cornell created, periods of activity can generally be separated into two areas: collage films of the late 1930s, consisting of combined elements from films in his own collection, and films he directed in the 1950s, which were collaborations with other filmmakers set in New York City. "Rose Hobart," Cornell's most celebrated collage film, was created and shown in the Julien Levy Gallery in 1936 and includes clipped footage from "East of Borneo." Later films were directed and filmed with cinematographers Stan Brakhage, Rudy Burckhardt, and Larry Jordan.

In 1934, Cornell began a job at the Traphagen Commercial Textile Studio as a "textile designer," a job he held for six years. Continuing to work at his kitchen table in the evenings, Cornell completed his first assemblage box construction, "Untitled (Soap Bubble Set)," in 1936. It was first exhibited at The Museum of Modern Art's show, "Fantastic Art, Dada and Surrealism" (December 9, 1936-January 17, 1937). This work was also the first to be acquired by a museum, purchased for $60.00 by the Wadsworth Atheneum in Massachusetts in 1938. Cornell's European debut was also in 1938, as one of three Americans represented in the "Exposition Internationale du Surréalisme" (January 17-Febuary 24, 1938) at the Galerie Beaux-Arts in Paris, alongside Man Ray and Anne Clark.

At the end of 1939, Cornell began corresponding with poet Charles Henri Ford, founder of avant-garde magazine "View," Pavel Tchelitchew, and Parker Tyler. After his "Soap Bubble Sets," this period saw the development of Cornell's homages to singers and actresses, including "Untitled (Fortune-Telling Parrot for Carmen Miranda)," the destroyed "Garbo (Greta Garbo in the Legendary Film 'The Crystal Mask,' c. 1845)," and "Dressing Room for Gilles." He also began using photostats of art reproduction prints, as with the print of Jean Antoine-Watteau's painting, "Pierrot" (circa 1719), used in his "Gilles" box.

In the 1940s, the Romantic ballet emerged as Cornell's new topic of interest. Through his friend Pavel Tchelitchew, Cornell was introduced to the School of American Ballet and New York City Ballet founders, Lincoln Kirstein and George Balanchine. Cornell collected dance memorabilia and had a great love of the Romantic ballet. His favorite dancers were primarily ballerinas of the nineteenth century, including Fanny Cerrito, Marie Taglioni, Fanny Elssler, Lucille Grahn, and Carlotta Grisi. Cornell's "Homage to the Romantic Ballet" works largely took the shape of jewel-box style wooden boxes with glass overlays and included bits of velvet, tulle, sequins, crystals, and chiffon, occasionally collected from dancers themselves. His most well-known work of this series is "Taglioni's Jewel Casket" (1940). Cornell also admired several living ballet dancers, including Tamara Toumanova, Zizi Jeanmaire, and Allegra Kent, who would all make their way into Cornell's box works and/or collages. Collecting for the "exploration," "Portrait of Ondine," Cornell's cased portfolio dedication to Fanny Cerrito and her role in the ballet "Ondine," began in the 1940s, though not completed until around 1960.

In late 1940, Cornell quit his job at Traphagen to concentrate on freelance commercial magazine design and editorial work during the day and his artwork at night. That same year, Charles Henri Ford started "View" magazine to promote Surrealists and Neo-Romantics in New York City and often asked Cornell to contribute. Published in the December 1941-January 1942 issue, one of his early contributions was a collage dedication to stage actress Hedy Lamarr: "Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr" (1941). Along with writing the accompanying text, he created a photomontage of Lamarr with her face overlaying the painted portrait of a Renaissance boy by Italian painter Giorgione. Peggy Guggenheim, at the advice of Marcel Duchamp, purchased multiple Cornell works prior to opening her new gallery, Art of This Century. Cornell also befriended Roberto Matta Echaurren, another Surrealist living in exile, who introduced him to Robert Motherwell.

After deciding to fully dedicate his time to his art in early 1940, he set up a studio in his basement. Complete with floor-to-ceiling wooden shelving, he kept his large collection of boxed source material stacked with handwritten labels in cardboard boxes. Themed folders of materials such as "Stamps" or "Maps" were kept in stacks and works in progress and finished works were stored in the basement, garage, and attic. Entering a renewed period of productivity, Cornell embarked on many new and important box projects in 1942. One of the first boxes created in his new basement studio, and the first of the "Penny Arcade" or "Medici Slot Machine" series, was "Medici Slot Machine" (1942), which includes a photostat of "Portrait of Marquess Massimiliano Stampa" (1557) by Sofonisba Anguissola. Another work from this time is the first of his "Castle" or "Palace" series, "Setting for a Fairy Tale" (1942), which uses a photostat of a French building from Jacques Androuet du Cerceau's book, "Les Plus excellents bastiments de France" (1576). "Untitled (Pharmacy)" (circa 1942) was the first of his "Pharmacy" series and included twenty-two apothecary jars. Cornell tended to work in series and created thirteen "Palace" boxes between 1942 and 1951, and ultimately created six "Pharmacy" works.

In 1943, Cornell began working at an electronics company, the Allied Control Company, Inc., to do his part to contribute to the defense effort during the war. He also sent correspondence and care packages to displaced Europeans, who listed their needs in "The Christian Science Monitor." Influenced by World War II, one of his strongest works to emerge in 1943 was "Habitat Group for a Shooting Gallery." Another notable work to come out of this period, "The Crystal Cage (Portrait of Berenice)," was an excerpt from one of his album "explorations" that was published in the January 1943 issue of "View."

Cornell left his job at Allied Control in 1944, but soon began working at the Garden Centre in Flushing, owned by a fellow Christian Scientist. Cornell was often nostalgic for this time in his life, devoting an entire "exploration" of material fondly remembered as "GC 44." He rode a bicycle to work and enjoyed collecting trips gathering dried grasses, driftwood, shells, and other relics of nature on the same bicycle as he rode through the streets of Queens. During this time, he continued to tend to his projects for "Dance Index," a magazine founded in 1942 by Lincoln Kirstein, but taken over by Donald Windham in 1944. Cornell designed several covers for the magazine and was given control of the entire summer 1944 issue, which he devoted to the Romantic ballet. He also devoted a special 1945 issue to Hans Christian Andersen, making great use of the New York Public Library Picture Collection.

Throughout the 1940s, Cornell continued to support himself with commercial design work for magazines like "Vogue," "Good Housekeeping," "Harper's Bazaar," "Town & Country," and "Mademoiselle." In 1946, after thirteen years at the Julien Levy Gallery, he joined the Hugo Gallery. In December 1946, Cornell's solo exhibition, "Romantic Museum at the Hugo Gallery: Portraits of Women by Joseph Cornell," celebrated his favorite movie stars, singers, and ballet dancers, and included his work created for the show, "Untitled (Penny Arcade Portrait of Lauren Bacall)." Cornell's "Greta Garbo" box, as well as "Souvenir for Singleton," an homage to Jennifer Jones and her role in the film "Love Letters," were also included in the show. In late 1948, his West Coast debut was in the exhibition, "Objects by Joseph Cornell," held at the Copley Gallery. The end of the 1940s saw the final issue of "View" magazine in 1947, the closure of the Julien Levy Gallery in April 1949, and Cornell's departure from the Hugo Gallery after his last show in November 1949.

In late 1949, Cornell joined the Charles Egan Gallery, known primarily for showing Abstract Expressionists. At this time, Cornell was working on a new series of boxes known as his "Aviary" works, most of which include a white-painted box with cutouts of birds mounted on wood. Though he had worked on bird-related boxes before, including an "Owl" series in the mid-1940s, his "Fortune Telling Parrot" (1939), and "Object 1941" (1941), these newer works were stripped of French elements and left "clean and abstract" by design. His first show at the Egan Gallery, "Aviary by Joseph Cornell" (December 7, 1949-January 7, 1950), included twenty-six "Aviary" works, nearly all created in 1949. Donald Windham agreed to write the foreword for the exhibition catalog, a single folded sheet, and Cornell gave him one of the boxes in the show, "Cockatoo: Keepsake Parakeet," in appreciation. Through the Egan Gallery, Cornell became friends with a new group of artists, including Franz Kline, Jack Tworkov, and Willem de Kooning. Cornell also held two screenings of a selection of his collected films at Subjects of the Artist, an art school founded by Robert Motherwell, Mark Rothko, David Hare, and William Baziotes.

In 1950, Cornell's second show at the Egan Gallery, "Night Songs and Other New Work" (December 1, 1950-January 13, 1951), introduced his new "Observatory" series. These works are largely defined by stark, whitewashed spaces with astronomical charts and constellations replacing colorful birds. The Museum of Modern Art purchased its first Cornell work from this show in early 1951, "Central Park Carrousel, in Memoriam" (1950).

For three months in 1951, Cornell was beset by various ailments and had trouble finding the energy to create new work. He worried more for his aging mother and the health of his brother. After a monthlong vacation with his sisters in Westhampton, he returned with renewed interest in Emily Dickinson's poetry. His whitewashed boxes took on a new form in his newest "Dovecote" series, using grids and circular cutouts. The works then transformed into homages to Dickinson, notably "Toward the Blue Peninsula: For Emily Dickinson" (circa 1953), and then to his "Hotel" series. Cornell's "Hotel" boxes include photostats of vintage European ads for hotels collected from vintage travel guides, especially "Baedeker's," adhered to the back walls of the boxes. Another new series of work, his "Juan Gris" series, was dedicated to Cubist artist Juan Gris. Between 1953 and the mid-1960s, Cornell created at least fifteen "Juan Gris" boxes, which often include a cutout of a white cockatoo in a Cubist-collage habitat. Cornell's third and last show at Egan Gallery, "Night Voyage" (February 10-March 28, 1953), included some of these newest works. After leaving Egan Gallery, his work was introduced to Chicago collectors in a solo show at the Frumkin Gallery, "Joseph Cornell: 10 Years of His Art" (April 10-May 7, 1953), which included nearly thirty pieces. Cornell's first museum retrospective was this same show held at the Walker Art Center in Minneapolis (July 12-August 30, 1953).

As New York City continued to change, Cornell grew more nostalgic for the city he had explored since the 1920s. The impending closure of the Third Avenue El train prompted him to dream up a film project to capture its last days, resulting in "Gnir Rednow," a reworking of Stan Brakhage's 1955, "Wonder Ring." During this time, Cornell joined the Stable Gallery, run by Eleanor Ward, interacting often with Robert Rauschenberg, Cy Twombly, and Joan Mitchell, remaining there until the end of the 1950s. His astronomy-themed exhibition, "Winter Night Skies" (December 12, 1955-January 13, 1956), included his "Night Skies" series of work with celestial chart fragments, Greek mythological figures, and paint-splattered "windows" representative of star-filled night skies. In 1956, he became aware of ballerina Allegra Kent, and began a series of work devoted to her, the first of which was "Via Parmigianino (Villa Allegra)" (1956), which included a photostat of a painting by Parmigianino, "The Madonna of the Long Neck" (circa 1540). In late 1957, after two years, Cornell had his last show at Stable Gallery, "Joseph Cornell: Selected Works" (December 2-31, 1957), consisting of a series of "Sand Fountain" boxes and "Space Object" or "Celestial Navigation" works. The "Sand Fountain" boxes included different colors of sand meant to flow within, often from the tops into cordial glasses. His "Celestial Navigations" included galaxy-like compositions set within the boxes, with rolling, painted cork balls, metal rings, and constellation charts, sometimes hovering over cordial glasses or clay pipes. This last Stable Gallery show earned him his first published profile, written by Howard Griffin for the December 1957 issue of "Art News." Also in 1957, he won the Kohnstamm Prize for Construction at the Art Institute of Chicago's 62rd Annual Exhibition of Paintings and Sculpture.

Towards the end of the 1950s, Cornell spent less time creating new bodies of work, and focused more on revisiting previous series and reviewing piles of collected source material. In 1959, Cornell returned to making collages, frequently sourcing popular magazines. In December 1959, Cornell was awarded $1,500 for his "Orion" collage, entered in the Art Institute of Chicago's "63rd American Exhibition of Painting and Sculpture." Also in December, he was offered a show at Bennington College in Vermont, which he titled, "Bonitas Solstitialis: Selected Works by Joseph Cornell and an exploration of the Colombier" (November 20-December 15, 1959). The show included one of his newest "explorations" of collected material related to "colombier," or pigeon houses.

By 1962, Cornell was working diligently on new collages, using Masonite boards and colorful magazine clippings. He also began creating collages using nude images interspersed with constellation clippings or hazy blue dyes. As in previous decades and art movements, Cornell became acquainted with new artists, spending less time in the city and more time hosting visitors at his Utopia Parkway home. Visitors included artists Walter De Maria, Robert Whitman, Andy Warhol, James Rosenquist, and Robert Indiana. Tony Curtis also became a frequent visitor and friend, introduced by Richard Feigen in 1964. The early 1960s was also the first time Cornell put out an advertisement for assistants in the "Long Island Star-Journal," employing a number of young men and women who helped organize clippings and run errands. Cornell also met Joyce Hunter, a young runaway waitress at a city coffee shop, who would occupy his thoughts and diary notes for the next several years. When she was murdered at the end of 1964, Cornell paid for her funeral. He went on to make several "Penny Arcade" collages in memoriam to her, including, "Penny Arcade (re-autumnal)" (1964).

In 1964, Cornell began friendships with several women including artist Carolee Schneeman, who was his first assistant in the early 1960s. He also met artist Yayoi Kusama through art dealer Gertrude Stein. After becoming friends, she visited him often and they exchanged letters and notes. As he did with other artist friends, Cornell supported her by purchasing several of her early watercolor paintings, and they stayed connected until his death in 1972.

Cornell's life greatly changed in 1965 with the death of his brother, Robert. By this time, his mother lived with his sister in Long Island, and Cornell was alone in the Utopia Parkway house for the first time. He exchanged frequent letters and phone calls with his mother and devoted much time to thinking about Robert and Joyce, often aligning them in his diary notations. Cornell also created a series of collages dedicated to his brother's memory, incorporating photostats of Robert's hundreds of drawings into Cornell's work, as with the later collage, "The Heart on the Sleeve" (1972). Cornell's "Time Transfixed" series of collages were also dedications to Robert's memory, referencing Magritte and Robert's love of trains. He mounted an exhibition, "Robert Cornell: Memorial Exhibition" (January 4-29, 1966), at the Robert Schoelkopf Gallery, where he showed Robert's artwork alongside his newly created collage dedications.

After Robert's death, Cornell relied more heavily on assistants, going through many part-time "helpers." In October 1966, Cornell's mother died, adding her to his constant thoughts and diaries. Though he was still grieving, he was given two major retrospectives in 1967. The first was at the Pasadena Art Museum, put on by James Demetrion and Walter Hopps, "An Exhibiton of Works by Joseph Cornell" (January 9-February 11, 1967). The second retrospective was at the Guggenheim Museum just three months later, "Joseph Cornell" (May 4-June 35, 1967), organized by Diane Waldman. After these shows, he was highlighted in the December 15, 1967 issue of "Life" in the article, "The Enigmatic Bachelor of Utopia Parkway."

In 1968, Cornell was given an "award of merit," which included a medal and $1,000, by the American Academy and Institute of Arts and Letters. He was also given a medal and $1,000 by the Brandeis University Creative Arts Awards in the painting category, along with an exhibition. Days later, "The New York Times" announced Cornell the winner, along with Donald Judd, of India's first Triennale of Contemporary World Art. The Brandeis exhibition, "Boxes and Collages by Joseph Cornell" (May 20-June 23, 1968), was organized by William Seitz and concentrated on Cornell's more recent 1960s collages. Cornell was also included in the Metropolitan Museum of Art's hundredth anniversary show, "New York Painting and Sculpture: 1940 to 1970" (October 18, 1969-February 1, 1970), where twenty-two of Cornell's boxes were shown in their own gallery. At the end of 1970, Cornell was given a solo show at the Metropolitan, "Collages by Joseph Cornell" (December 10, 1970-January 24, 1971), which included forty-five of his newest collages.

Now preferring to stay closer to his home in Flushing, Cornell was more interested in sharing his art with young adults and children, than an adult audience. He hosted a group of high school students, sponsored by the Metropolitan Museum of Art's education department, at his home in conjunction with his collage show (1970-1971). He also showed his work in the art department of Queens College of the City University of New York. Cornell still hosted visitors on occasion, having Yoko Ono and John Lennon at his home at least once. Leila Hadley, Betsy von Furstenberg, and Anne Jackson also made frequent visits. With his deteriorating health, Cornell worried about what would happen to his work after his death and hired lawyer Harry Torczyner to help him plan his estate and get his affairs in order.

In 1972, Cornell had a show at the Cooper Union, a college in New York, specifically for children. He displayed his boxes and collages at child-height and had cherry soda and brownies at the opening reception on February 10. He then held a show at the Albright-Knox Art Gallery in Buffalo, also for children: "Children's Preview of the Exhibition of Joseph Cornell – Collages and Boxes (April 18-June 17, 1972). In the winter of 1972, at the request of the Phoenix House drug treatment and prevention program, Cornell contributed to a charity project compiling limited-edition lithographic prints for a portfolio, which included artists like David Hockney, James Rosenquist, and Ellsworth Kelly.

On December 29, 1972, a week after turning sixty-nine, Cornell died of heart failure at his home. He was cremated and interred near the graves of his mother, father, and brother, overlooking the Hudson River in Nyack, New York.

Works Cited:

1. Hartigan, Lynda Roscoe. "Joseph Cornell: Navigating the Imagination." New Haven, Connecticut and London: Yale University Press, 2007. Exhibition Catalog.

2. McShine, Kynaston. "Joseph Cornell." New York: Museum of Modern Art, 1980.

3. San Francisco Cinematheque and The San Francisco Museum of Modern Art. "Joseph Cornell: Films." 2007. Exhibition Program. (Presented in conjunction with SFMOMA's exhibition of "Joseph Cornell: Navigating the Imagination").

4. Schaffner, Ingrid and Lisa Jacobs. "Julien Levy: Portrait of an Art Gallery." Cambridge, Massachusetts and London: The MIT Press, 1998.

5. Solomon, Deborah. "Utopia Parkway: The Life and Work of Joseph Cornell." New York: Farrar, Straus and Giroux, 1997.

Separated Materials:

The Smithsonian Archives of American Art houses the Joseph Cornell papers, 1804-1986, bulk 1939-1972.

Provenance:

The Joseph Cornell Study Center collection was donated to the Smithsonian American Art Museum by Joseph Cornell's sister and brother-in-law, Elizabeth Cornell Benton and John A. Benton, in 1978, which prompted the creation of the Joseph Cornell Study Center. Additional materials were donated in installments by the artist's estate, the Joseph and Robert Cornell Memorial Foundation, from 1985 to 1997. Elizabeth and John A. Benton originally donated 66 linear feet of three-dimensional and non-textual source material and 50 linear feet of books to the Smithsonian Archives of American Art, which were subsequently transferred to the Smithsonian American Art Museum's Joseph Cornell Study Center in 1994 and 1995.

Restrictions:

Access to the collection requires an advanced appointment. Contact collection staff at least two weeks prior to preferred date, at AmericanArtCornellStudy@si.edu.

Series 9: Artifacts and Ephemera, Series 13: Personal Library and Book Collection, and Series 14: Record Album Collection, are still undergoing processing and preservation and may not be available for research use. Record albums are unavailable for playback. Contact collection staff for full lists of publications and record albums.

Rights:

Unpublished materials are protected by copyright. Permission to publish, quote, or reproduce must be secured from the repository and the copyright holder.

Occupation:

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

Topic:

Art, Modern -- 20th century -- United States  Search this

Assemblage (Art)  Search this

Assemblage artists -- New York (State) -- New York  Search this

Found objects (Art)  Search this

Works of art  Search this

Celebrities  Search this

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

Genre/Form:

Photographs -- 1900-1950 -- Photoprints -- Silver gelatin

Photographs -- 1860-1870 -- Black-and-white photoprints -- Silver albumen -- Cartes-de-visite

Photographs -- Daguerreotypes -- 1840-1860

Citation:

Joseph Cornell Study Center collection, 1750-1980, bulk 1930-1972. Joseph Cornell Study Center, Smithsonian American Art Museum.

Sponsor:

Funding for the processing of this collection was generously provided by the Joseph and Robert Cornell Memorial Foundation.

Identifier:

SAAM.JCSC.1

See more items in:

Joseph Cornell Study Center Collection

Archival Repository:

Smithsonian American Art Museum, Research and Scholars Center

GUID:

https://n2t.net/ark:/65665/ih7d97fc249-474d-41bf-953d-5305df1e4c06

EDAN-URL:

ead_collection:sova-saam-jcsc-1

Collection Creator:

Smithsonian Institution. Center for Folklife and Cultural Heritage  Search this

Type:

Archival materials

Introduction:

From the soaring skyscrapers of New York City to the adobe churches of New Mexico, from the sturdy stone walls of New England to the majestic monuments of the nation's capital, master craftworkers in the building arts have brought enduring beauty to our built environment. Working in wood, stone, brick, and metal, in plaster, paint, glass, and clay, they transform designs on paper into three-dimensional works of art. Much depends on their workmanship and skill: on their deep understanding of raw materials, their careful selection and use of tools, their mastery of technique. The final product is the result not only of their knowledge and abilities, but also their creativity and care - their will to excellence.

Artisans in the building trades share a deep appreciation for the aesthetic value and expressive power of technical perfection. They delight in skill and find meaning and pleasure in the poetic qualities of workmanship - in their ability to craft objects of beauty and strength through their special touch. Their great pride and creative spirit, their love for their work, and their commitment to excellence are manifested in a lasting legacy of architectural achievement left behind for generations to come.

The 2000 Festival program celebrated the extraordinary artistry of craftspeople in the building arts and explored the many challenges they face today as they work to preserve our nation's past and build for the future. The Festival brought together a selection of master artisans - stone carvers, masons, carpenters, terra cotta artisans, plasterers, blacksmiths, stained glass artisans, and adobe builders - who have enriched our world with the work of their hands, and who educated and informed Festival visitors not only with their skills but also with their knowledge and lore.

Marjorie Hunt was Curator and James Deutsch was Program Coordinator; Betty Belanus was Education Specialist and Family Activity Guide Coordinator. An Advisory Committee included: J. Bryan Blundell, Kurt Dewhurst, William Dupont, Cynthia Field, Henry Glassie, Norman Koonce, Betty Monkman, Peter Nabokov, Joanna Reagan, Rex Scouten, William Seale, Chris Sturbaum, John Michael Vlach, and Ed Worthy.

The program was produced in collaboration with the International Union of Bricklayers and Allied Craftworkers and the International Masonry Institute, the National Trust for Historic Preservation, the National Building Museum, the American Institute of Architects, and the Preservation Trades Network. Major funding was provided by Homestore.com, the Marble Institute of America, Allied Stone Industries, the Building Stone Institute, the Indiana Limestone Institute, and the National Building Granite Quarries Association. Major contributors included Target Stores, the Associated General Contractors of America, the National Association of Realtors, and the Smithsonian Women's Committee. Additional donors included the School of the Building Arts, Duron, Inc., the Brick Industry Association, the Laborers' International Union of North America, the Smithsonian Educational Outreach Fund, and the Copper Development Association, Inc.

Researchers:

Jane Beck, Betty Belanus, Ray Brassieur, Amanda Dargan, James Deutsch, Kurt Dewhurst, Karen Duffy, Lynn Martin Graton, Dwight Pauahi Kauahikaua, Winnie Lambrecht, Tim Lloyd, Gregory Sharrow, Gary Stanton, David Taylor, Elaine Thatcher, John Michael Vlach

Presenters:

Betty Belanus, Barry Bergey, Ray Brassieur, Olivia Cadaval, Amanda Dargan, William Dupont, Brian Finnegan, Lynn Martin Graton, Tim Lloyd, Philip "Pete" Pederson, Clift Seferlis, Peter Seitel, Gregory Sharrow, Angelo Simone, Nick Spitzer, Gary Stanton, David Taylor, Elaine Thatcher, Cynthia Vidaurri, John Michael Vlach

Participants:

David Adams, historic preservation specialist, Portsmouth, New Hampshire

Robert Alger, stone carver, sculptor, Spencerville, Maryland

Joseph Alonso, stone mason, Vienna, Virginia

Onofre Anguiano, terra cotta hand presser, mold maker, Lincoln, Calif.

Walter S. Arnold, stone carver, Skokie, Illinois

Sam Baca, program director, Cornerstones Community Partnerships, Santa Fe, New Mexico

Earl A. Barthe, 1932-2010, plasterer, historian and consultant, New Orleans, Louisiana

Hurchail Barthe, plasterer, New Orleans, Louisiana

Terry Barthe, plasterer, historic housing specialist, New Orleans, Louisiana

Nick Benson, stone carver, letterer, Newport, Rhode Island

Johan Bjurman, decorative painter, Cheshire, Connecticut

Anna Bowen, stone carver, letterer, Newport, Rhode Island

Dan Boyle, timber framer, Dover, New Hampshire

Rory Brennan, historic plaster specialist, Putney, Vermont

Ron Brooks, decorative painter, Rockville, Maryland

John Canning, decorative painter, Cheshire, Connecticut

Jacqueline Canning-Riccio, decorative painter, Cheshire, Connecticut

Jesus Cardenas, terra cotta modeler, mold maker, Lincoln, California

Charles Cardine, architectural blacksmith, Chantilly, Virginia

Patrick Cardine, architectural blacksmith, Chantilly, Virginia

Carson Christian, timber framer, Wooster, Ohio

Rudy Christian, timber framer, Burbank, Ohio

Peter "Billy" Cleland, 1921-2010, stone mason, Clinton, Maryland

William R. Cleland, Jr., stone mason, Dunkirk, Maryland

Rose Concha, -- enjarrodoro -- (adobe plasterer), Taos, New Mexico

Brian Cox, carpenter, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

John Drew, carpenter, St. Leonard, Maryland

William Dupont, Graham Gund Architect of the National Trust, National Trust for Historic Preservation, Washington, D.C.

Cane Fields, Hawaiian dry stack mason, Kailua-Kana, Hawaii

Billy Fields, Hawaiian dry stack mason, Kailua-Kana, Hawaii

David Flaharty, ornamental plasterer, sculptor, Green Lane, Pennsylvania

lsidoro Flaim, stone mason, Camp Springs, Maryland

Tom Glynn, timber framer, South Berwick, Maine

Dieter Goldkuhle, 1938-2011, stained glass artisan, Reston, Virginia

Giles Harper, preservation carpenter, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

Adam Heller, stone carver, letterer, Newport, Rhode Island

Randy Herald, sheet metal craftsperson, Bethesda, Maryland

Randy Herald, Jr., sheet metal craftsperson, Bethesda, Maryland

Hans Herr, coppersmith, Holtwood, Pennsylvania

John Paul Huguley, president, School of the Building Arts, Charleston, South Carolina

Judy Jacob, architectural conservator, National Park Service, New York, New York

Raymond Johnson, terra cotta modeler, draftsman, Lincoln, California

Dean Kalomas, decorative painter, Washington, D.C.

Vikki Keys, deputy superintendent, National Park Service, Washington, D.C.

Rick King, dry stone wall mason, Holderness, New Hampshire

Scott King, dry stone wall mason, Holderness, New Hampshire

Naomi Kroll, architectural conservator, National Park Service, New York, New York

Wade Lawrence, assistant director, Drayton Hall, National Trust for Historic Preservation, Charleston, South Carolina

Elmo Leonardelli, scaffold erector, Baltimore, Maryland

Stephen Lorenzetti, chief of resource management, National Park Service, Washington, D.C.

Amber Lucero, -- enjarrodoro -- (adobe plasterer), Taos, New Mexico

Rick Lykins, restoration carpenter, Bloomington, Indiana

George McDaniel, director, Drayton Hall, National Trust for Historic Preservation, Charleston, South Carolina

Richard Marks, architectural conservator, Charleston, South Carolina

Antonio Martinez, community leader, Upper Rociada, New Mexico

David Martinez, terra cotta draftsman, Roseville, California

David Mason, dry stone wall mason, Starksboro, Vermont

Rick Mason, dry stone wall mason, Hinesburg, Vermont

John O'Connor, engineer, Universal Builders Supply, Cheverly, Maryland

David Overholt, restoration project manager, Lyndhurst, National Trust for Historic Preservation, Tarrytown, New York

Albert D. Parra, adobe builder, Albuquerque, New Mexico

Theodore Pierre, Jr., brick mason, New Orleans, Louisiana

Konstantinos Pilarinos, Byzantine-style woodcarver, Astoria, New York

Panagiota Pylarinos, architect, Astoria, New York

Dennis Playdon, program manager, Cornerstones Community Partnerships, Santa Fe, New Mexico

Patrick Plunkett, stone carver, Takoma Park, Maryland

Joseph Pringle, blacksmith, Charleston, South Carolina

Nol Putnam, artist blacksmith, The Plains, Virginia

Clay Raley, restoration carpenter, Norman, Indiana

Brad Robinson, architectural blacksmith, Chantilly, Virginia

Steve Roy, historic preservation specialist, Portsmouth, New Hampshire

Brett Rugo, president, Rugo & Carosi, Woodbridge, Virginia

Laura Saeger, timber framer, Burbank, Ohio

George Salvador, restoration crew leader, Pueblo of Acoma, New Mexico

Eduardo Seara, vice-president, Lorton Contracting Company, Lorton, Virginia

Manuel Seara, president, Lorton Contracting Company, Lorton, Virginia

Tony Segreti, architect, Bethesda, Maryland

Carlton Simmons, blacksmith, Charleston, South Carolina

Philip Simmons, 1912-2009, blacksmith, Charleston, South Carolina

Louis Soublet, plasterer, New Orleans, Louisiana

Larry E. Stearns, coppersmith, Westford, Vermont

Ben Sturbaum, restoration carpenter, Owensburg, Indiana

Chris Sturbaum, restoration carpenter, Bloomington, Indiana

Arran Sturgis, timber framer, Eliot, Maine

Daniel Szwed, construction manager, Waldorf, Maryland

Mark Tamara, structural engineer, James Madison Cutts, Washington, D.C.

Lonn Taylor, historian, National Museum of American History, Smithsonian Institution, Washington, D.C.

Lloyd Tortalita, Adult, Higher Education director, former governor, Pueblo of Acoma, New Mexico

Roman Troyer, timber framer, Wooster, Ohio

Dexter Trujillo, adobe builder, mud preserver, Abiquiu, New Mexico

Mark Tsirigos, president, Universal Builders Supply, Cheverly, Maryland

George Void, masonry crew, Washington National Cathedral, Washington, D.C.

Chuck Wagner, owner, Wagner Roofing Company, Hyattsville, Maryland

Sheila Wagner, owner, Wagner Roofing Company, Hyattsville, Maryland

Tom Weddle, restoration carpenter, Bloomington, Indiana

Bob Wooldridge, slater, Mercersburg, Pennsylvania

Jeff Wooldridge, slater, project manager, Bethesda, Maryland

Bill Yeingst, curator, National Museum of American History, Smithsonian Institution, Washington, D.C.

Pauli Zmolek, decorative painter, Takoma Park, Maryland

INTERNATIONAL UNION OF BRICKLAYERS AND ALLIED CRAFTWORKERS (BAC), INTERNATIONAL MASONRY INSTITUTE (IMI)

Frank Baiocchi, marble mason, Mt. Airy, Maryland

Ed Bellucci, IMI deputy director of Apprenticeship and Training, Jefferson, Maryland

Robert Bernardon, marble mason, Suitland, Maryland

Lewis Carrara, mosaic worker, Fortville, Indiana

Raoul Cervantes, bricklayer, Claremont, California

Kurt Colo, bricklayer, New Baltimore, Michigan

Laird Donaldson, IMI regional director, Auburn, Washington

James Farris, stone mason, Stafford, Virginia

Richard Francescon, marble mason, South Easton, Massachusetts

Greg Hartseil, IMI Job Corps regional director, Lorida, Florida

Dennis Holloway, IMI Scola Training Center director, West Babylon, New York

Mike Kassman, IMI pointing, cleaning, and caulking instructor, Waynesboro, Pennsylvania

Tony Kassman, IMI National Safety, pointing, cleaning, and caulking coordinator, Tonawanda, New York

John Kitchen, bricklayer apprentice, Dryden, New York

Frank Koletar, refractory bricklayer, Orchard Park, New York

Annette Ludwig, tile layer, Bellevue, Washington

Nelson McMath, BAC Local 9 Michigan field representative, Saline, Michigan

Tom McQuaid, BAC Local 1 DC, MONA secretary, treasurer, Gettysburg, Pennsylvania

Steve Martini, IMI Strategic Programs director, Cascade, Maryland

Steve Mason, terrazzo apprentice, Washington, D.C.

Antoine Matthews, bricklayer, Baltimore, Maryland

Michael Menegazzi, IMI terrazzo instructor, South Gate, California

Bob Mion, IMI tile, marble, and terrazzo instructor, Binghamton, New York

Guillermo Moreno, stone mason, Hyattsville, Maryland

Colleen Muldoon, coordinator of Education Programs, bricklayer, Baltimore, Maryland

Clarence Nichols, IMI deputy director of Apprenticeship and Training, Cumberland, Maryland

Angela Olszewski, tile layer, Jersey City, New Jersey

Lester Parnell, bricklayer, Detroit, Michigan

Bob Perry, IMI regional director, Culver City, California

Darren Raines, tile layer, Chicago, Illinois

Matthew Redabaugh, IMI coordinator of Special Projects, Cascade, Maryland

Butch Rovder, BAC stone craft director, South Riding, Virginia

Joe Stewart, BAC pointing, cleaning, and caulking craft director, Pittsburgh, Pennsylvania

Gene Stinner, IMI director of Apprenticeship and Training, Cascade, Maryland

Dennis Studley, IMI Job Corps regional director, Yucaipa, California

Harold Sugg, refractory bricklayer, West Seneca, New York

Jimmy Ternent, marble mason, Westminster, Maryland

John Totten, IMI plaster instructor, Clintondale, New York

Drew Vecchione, IMI stone instructor, Flourtown, Pennsylvania

Battista Yon, bricklayer, Hyattsville, Maryland

Collection Restrictions:

Access by appointment only. Where a listening copy or viewing copy has been created, this is indicated in the respective inventory; additional materials may be accessible with sufficient advance notice and, in some cases, payment of a processing fee. Older papers are housed at a remote location and may require a minimum of three weeks' advance notice and payment of a retrieval fee. Certain formats such as multi-track audio recordings and EIAJ-1 videoreels (1/2 inch) may not be accessible. Contact the Ralph Rinzler Folklife Archives and Collections at 202-633-7322 or rinzlerarchives@si.edu for additional information.

Collection Rights:

Copyright and other restrictions may apply. Generally, materials created during a Festival are covered by a release signed by each participant permitting their use for personal and educational purposes; materials created as part of the fieldwork leading to a Festival may be more restricted. We permit and encourage such personal and educational use of those materials provided digitally here, without special permissions. Use of any materials for publication, commercial use, or distribution requires a license from the Archives. Licensing fees may apply in addition to any processing fees.

Collection Citation:

Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival, Ralph Rinzler Folklife Archives and Collections, Smithsonian Institution.

Identifier:

CFCH.SFF.2001, Series 3

See more items in:

Smithsonian Folklife Festival records: 2001 Smithsonian Folklife Festival

Archival Repository:

Ralph Rinzler Folklife Archives and Collections

GUID:

https://n2t.net/ark:/65665/bk504922fdd-8abb-43a1-a132-41400c430cd8

EDAN-URL:

ead_component:sova-cfch-sff-2001-ref26

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

Collection Creator:

Solomon, Alan R., 1920-1970  Search this

Container:

Box 5, Folder 7

Type:

Archival materials

Date:

1958-1967

Collection 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.

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:

Alan R. Solomon papers, 1907-1970, bulk 1944-1970. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of the Alan R. Solomon papers is provided by the Lichtenstein Foundation.

See more items in:

Alan R. Solomon papers

Alan R. Solomon papers / Series 6: Subject Files / Painters and Sculptors

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9741a2d8f-9c6c-4958-9650-5ad9f8c39375

EDAN-URL:

ead_component:sova-aaa-soloalan-ref217

Interviewee:

Slayton, Ronald Alfred, 1910-1992  Search this

Interviewer:

Brown, Robert F  Search this

Subject:

United States. Work Projects Administration  Search this

Federal Art Project (Vt.)  Search this

Type:

Sound recordings

Interviews

Topic:

Art and state  Search this

Decorative arts  Search this

Handicraft  Search this

Theme:

Craft  Search this

Record number:

(DSI-AAA_CollID)12939

(DSI-AAA_SIRISBib)215194

AAA_collcode_slayto84

Theme:

Craft

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215194

Interviewee:

Slayton, Ronald Alfred, 1910-1992  Search this

Interviewer:

Brown, Robert F.  Search this

Names:

Federal Art Project (Vt.)  Search this

United States. Work Projects Administration  Search this

Extent:

4 Items (sound files (2 hrs. 15 min.), digital, wav file)

42 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1984 August 22

Scope and Contents:

An interview of Ronald Alfred Slayton conducted 1984 August 22, by Robert F. Brown, for the Archives of American Art.

Slayton discusses his childhood education in Barre, Vermont and Hanover, N.H.; training at Pratt Institute, Brooklyn, N.Y.; involvement in government art projects and community betterment programs in Burlington, Vermont; setting up a community art program in Brandon, Vermont; developing hand-made crafts in Weston, Vermont; and destruction of most of his WPA paintings.

Biographical / Historical:

Ronald Alfred Slayton (1910-1992) is a painter and crafts administrator from Montpelier, Vermont.

General:

Originally recorded 2 sound cassettes. Reformatted in 2010 as 4 digital wav files. Duration is 2 hr., 18 min.

Provenance:

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

Occupation:

Painters -- Vermont -- Interviews  Search this

Topic:

Art and state  Search this

Decorative arts  Search this

Handicraft  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.slayto84

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw975a22266-a26a-41aa-8e07-800ab1288b2b

EDAN-URL:

ead_collection:sova-aaa-slayto84

Creator:

Teague, Virginia Vanderbilt  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Copley Society (Boston, Mass.)  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Taylor, Henry Fitch, 1853-1925  Search this

Extent:

0.2 Linear feet

Type:

Collection descriptions

Archival materials

Date:

1913-1962

bulk 1913-1917

Summary:

The papers of New York historian Virginia Teague measure 0.2 linear feet and date from 1913-1962, with the bulk of materials from 1913-1917. The papers consist of scattered records and papers compiled by Virginia Teague for the intended purpose of writing a history of the 1913 Armory Show, also known as the International Exhibition of Modern Art, organized by the Association of American Painters and Sculptors (AAPS). Documents include correspondence, business records, and printed material mostly in connection with the Copley Society and AAPS.

Scope and Contents:

The papers of New York historian Virginia Teague measure 0.2 linear feet and date from 1913-1962, with the bulk of materials from 1913-1917. The papers consist of scattered records and papers compiled by Virginia Teague for the intended purpose of writing a history of the 1913 Armory Show, also known as the International Exhibition of Modern Art, organized by the Association of American Painters and Sculptors (AAPS). Documents include correspondence, business records, and printed material mostly in connection with the Copley Society and AAPS.

There are a few letters from Elmer MacRae and Vera Kuhn to Virginia Teague recalling the Armory Show. There is one letter from Art Alliance of America Secretary, Elizabeth Grimball, to Henry Fitch Taylor advocating "preparedness" for artists in the event of international hostilities.

Records of the Association of American Painters and Sculptors include meeting minutes, 1913-1915, with agendas, drafts and completed reports of proceedings, checklists of attendees, a hand-written statement by Walt Kuhn, signed by Arthur B. Davies and Elmer McRae, and a mimeograph copy of the AAPS Constitution. Additional correspondence is between Henry Fitch Taylor, George Luks, and James Townsen regarding a review published in American Art News.

Records of the Copley Society are mostly related to the Armory Show. Business records include an exhibition contract and daily sales tallies from the Copley Society, which hosted the Boston venue at Copley Hall. Correspondence is with Walt Kuhn, Arthur B. Davies, John Quinn, Holker Abbott, Edward Warren, L. Flanders, and the law firm of Brandeis, Dunbar & Nutter, and regards a disagreement over sharing revenue generated by the Armory Show exhibition; and letters from General Services Administration and the U.S. Treasury Department regarding customs records for the Armory Show.

Printed material includes catalogs and clippings about the Armory Show.

Biographical / Historical:

Virginia Vanderbilt Teague was a historian in New York, N.Y. and Vermont and was the wife of sculptor and painter R. Lewis Teague. The collection consists of material related to the 1913 Armory Show, also known as the International Exhibition of Modern Art. The exhibition opened at the 69th Street Regiment, in New York City, in February 1913, and traveled to Chicago's Art Institute of Chicago, in March, and Boston's Copley Hall, in April.

Related Materials:

Also found in the Archives of American Art are the Walt Kuhn, Kuhn family and Armory Show records, which contain records of the Association of American Painters and Sculptors kept by Walt Kuhn, Secretary of AAPS. Correspondence (January 1951) between Teague and Vera Kunn in the Walt Kuhn, Kuhn family papers, and Armory Show records in the Archives of American Art shed some light on Teague's intentions to compile a history of the Armory Show and contact she had with others to gather materials.

Provenance:

The Virginia Teague papers relating to the Armory Show were donated to the Archives of American Art in 2010 by Adam and Clover Bergmann, son and daughter of Rudolph Bergmann, Virginia Teague's friend. The papers were found in Bergmann's home after his death in 2009.

Restrictions:

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

Rights:

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

Occupation:

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

Citation:

The Virginia Teague papers relating to the Armory Show, 1913-1962. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.teagvirg

See more items in:

Virginia Teague papers relating to the Armory Show

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw9d1e9c309-8987-4843-b825-c0d7a0a78ad2

EDAN-URL:

ead_collection:sova-aaa-teagvirg

Creator:

Kuhn, Walt, 1877-1949  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Association of American Painters and Sculptors (New York, N.Y.)  Search this

Kit Kat Club (New York, N.Y.)  Search this

Penguin Club (New York, N.Y.)  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Kuhn, Brenda, 1911-  Search this

Kuhn, Vera, d. 1961  Search this

Oldfield, Otis, 1890-1969  Search this

Pach, Walter, 1883-1958  Search this

Quinn, John, 1870-1924  Search this

Sheeler, Charles, 1883-1965  Search this

Photographer:

Rainford, Percy  Search this

Weston, Edward, 1886-1958  Search this

Extent:

31 Linear feet

Type:

Collection descriptions

Archival materials

Drawings

Diaries

Scrapbooks

Sound recordings

Date:

1859-1984

bulk 1900-1949

Summary:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

Scope and Contents note:

The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

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

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

Arrangement:

This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

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

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

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

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

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

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.

Biographical/Historical note:

Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

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

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

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

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

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

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

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

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

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

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

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.

Related Archival Materials note:

The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.

Provenance:

The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.

Restrictions:

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

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References Services for more information.

Rights:

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

Occupation:

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

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

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

Topic:

New York school of art  Search this

Modernism (Art)  Search this

Function:

Arts organizations -- New York (State)

Genre/Form:

Drawings

Diaries

Scrapbooks

Sound recordings

Citation:

Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Getty Foundation and the Terra Foundation for American Art.

Identifier:

AAA.kuhnwalt

See more items in:

Walt Kuhn Family papers and Armory Show records

Archival Repository:

Archives of American Art

GUID:

https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e

EDAN-URL:

ead_collection:sova-aaa-kuhnwalt

Creator:

Fried, Frederick, 1909-1994  Search this

National Carousel Association.  Search this

Fried, Mary Hill  Search this

Extent:

36 Cubic feet (89 boxes, 10 map-folders)

Type:

Collection descriptions

Archival materials

Photographs

Advertisements

Clippings

Blueprints

Books

Auction catalogs

Design drawings

Date:

circa 1662-1999, undated

Scope and Contents:

Collection primarily documents American folk art collected by Frederick Fried (1908-1994) and his wife Mary McKensie Hill Fried (1914-1988). It includes photographic materials, newspaper clippings, magazine articles, research files, lecture notes, unpublished manuscripts, brochures, drawings, printed advertisements, blueprints, books, patents, correspondence, trade literature, sheet music, auction catalogs, oral history interviews, and commercially recorded music. Of particular interest is the material relating to carousels. There is a substantial amount of material relating to New York architecture, wood carvings, show figures, weathervanes, mechanical and coin operated machines, amusement parks, the circus, tattoos and lesser-known folk arts. The collection is arranged by subject or genre in the order maintained by Frederick and Mary Fried.

Arrangement:

Series 1, Professional Materials, 1930-1995, undated

Subseries 1.1, Lectures, 1968-1989, undated

Subseries 1.2, Research Notes, 1962-1975, undated

Subseries 1.3, Published and Unpublished Materials, 1960-1990, undated

Subseries 1.4, Exhibitions, 1966-1985, undated

Subseries 1.5, Correspondence, 1945-1995, undated

Subseries 1.6, Office Files, 1930-1991, undated

Series 2, Sculptors and Ship Carvers, 1855-1987, undated

Series 3, Ship Carving Reference Files, 1875-1990, undated

Series 4, Show Figures, 1847-1989, undated

Subseries 4.1, Carvers, 1847-1987, undated

Subseries 4.2, Reference Files, 1864-1989, undated

Series 5: Carousels, 1851-1999, undated

Subseries 5.1, Reference Files, 1851-1990, undated

Subseries 5.2, Manufacturerst, 1854-1999, undated

Subseries 5.3, Carvers, undated

Subseries 5.4, Foreign, 1902, undated

Subseries 5.5, Organizations, 1974-1991, undated

Subseries 5.6, Museum Collections, 1959-1989, undated

Series 5.7, Sites, 1962-1991, undated

Series 6, Charles W. Parker Company, 1904-1905; 1922-1924, undated

Subseries 6.1, Glass Plate Negatives, 6x8, 1904-1905, undated

Subseries 6.2, Glass Plate Negatives, 8x10, 1922-1924, undated

Series 7, Amusements Parks, 1917-1992, undated

Series 8, Amusement Industry, 1662-1994, undated

Subseries 8.1, Companies, 1903, undated

Subseries 8.2, Reference Files, 1662-1994, undated

Series 9, Circus, 1902-1992, undated

Series 10, Architectural Ornaments, 1832-1988, undated

Subseries 10.1, Residential Architecture, 1899-1985, undated

Subseries 10.2, New York City Municipal Parks, 1968-1988, undated

Subseries 10.3, South Street Seaport, 1965-1970, undated

Subseries 10.4, New York Civic Sculpture, 1832-1977, undated

Subseries 10.5, Architectural Ornamentation, 1873-1985, undated

Series 11, Weathervanes, 1854-1981, undated

Series 12, Automatic, Coin Operated, and Vending Machines, 1960-1980, undated

Series 13, Banner Paintings and Painters, 1892-1999, undated

Series 14, Folk Arts, 1783-1999, undated

Subseries 14.1, Reference Files, 1831-1988, undated

Subseries 14.2, Clocks and Watches, 1869-1876; 1976, undated

Subseries 14.3, Eagles, 1843-1989, undated

Subseries 14.4, Musical Instruments, 1963-1999, undated

Subseries 14.5, Painters and Paintings, 1950-1990, undated

Subseries 14.6, Signs and Symbols, 1974, 1976, undated

Subseries 14.7, Other Materials, 1872-1988, undated

Subseries 14.8, Miscellaneous, 1783-1954, undated

Series 15: Photographic Materials, 1832-1988, undated

Subseries 15.1, Photographs and Contact Sheets, 1940-1984, undated

Subseries 15.1.1, America's Forgotten Arts, undated

Subseries 15.1.2, Artists in Wood, undated

Subseries 15.1.3, General, 1940-1984, undated

Subseries 15.2, Slides, 1832-1987, undated

Subseries 15.3, Negatives, undated

Subseries 15.4, Glass Plate Negatives, undated

Subseries 15.5, Snapshots, 1964-1988, undated

Subseries 15.5.1, Artists, Manufacturers, and Dealers, undated

Subseries 15.5.2, Museum Collections, 1964, undated

Subseries 15.5.3, Parks or Other Locations, undated

Subseries 15.5.4, Private Collections, 1987-1988, undated

Subseries 15.5.5, General, 1983-1988, undated

Series 16, Audiovisual Materials, 1940-1991, undated

Subseries 16.1, Audiocassette Tapes, 1971-1988, undated

Subseries 16.1.1, Lectures, 1974-1986, undated

Subseries 16.1.2, Interviews, 1971-1984, undated

Subseries 16.1.3, Music, 1972-1988, undated

Subseries 16.2, Audiotapes, 1940-1977, undated

Subseries 16.2.1, Lectures and Performances, 1969-1973, undated

Subseries 16.2.2, Interviews, 1940-1976, undated

Subseries 16.2.3, Conferences and Meetings, 1973-1977

Subseries 16.2.4, Music, 1956, undated

Subseries 16.2.5, Other, undated

Subseries 16.3, Videotapes, 1982-1991, undated

Biographical / Historical:

Frederick P. Fried was born December 11, 1908 in Brooklyn, New York. He grew up in the Williamsburg section of Brooklyn where his father owned a clock business across the street from Charles Carmel, a carousel carver. Fried acquired a fine-arts education in the 1930s with an emphasis on sculpture. He served with the Air Force during the Second World War. After a successful military career, Fried worked as art director in several fashion agencies. He met Mary McKenzie Hill, an academically trained artist in one of the studios.

Mary McKenzie Hill was born in 1914 in Baltimore, Maryland. She graduated from the Maryland Institute of Fine Arts. After graduation, she spent a year abroad studying before she returned to the United States to work as a fashion illustrator in Baltimore and New York. During World War Two Hill was a draftsman for a firm of architects.

Fried and Mary Hill married in 1949. The couple had two children Robert Hazen and Rachel. Around 1953 Fried began to collect architectural ornaments in New York. Fried served as the art director for Bonwit Teller in New York City from 1955-1962. He left the fashion world in 1962 to pursue his passion for collecting and writing full time. Fried published his first book, Pictorial History of Carousels in 1964. In 1967, Fred and Mary Fried purchased a forty-acre farm in Bristol, Vermont where the family spent their summers.

In 1968, Fried led a national campaign to preserve the Titanic Memorial Lighthouse (Seamen's Church Institute at South Street). He also became active in politics and served as the campaign manager for a New York State senator. His interest in Indian cigar store figures resulted in his publication Artists in Wood: American Carvers of Cigar Store Indians, Show Figures and Circus published in 1970. The focus of the book was Samuel Anderson Robb a New York wood carver. Fried co-founded the National Carousel Association in 1973. In 1978, Fried wrote America's Forgotten Folk Art with his wife Mary. This publication covered subjects such as carousels, banner painting, scarecrows, beach sand sculpture, tattoos, cast iron toys, amusement park architecture and trade signs.

Fried's collecting goal was to first preserve artifacts and to then make them available through his writings and exhibitions. His most treasured relics were the items he salvaged from the ruins of Coney Island. Fried referred to such artifacts as the uncelebrated arts. He became one of the founders of the Anonymous Arts Recovery Society a group of individuals who saved architectural ornaments from the wreckers' balls. In addition, he was one of the founders of the National Carousel Round Table which was created to preserve hand-carved merry-go-rounds. As a result of his collecting, research and writing Fried became recognized as the authority on carousels, coin-operated machines, and cigar store figures. He served as a consultant to many Museums; in particular as chief consultant on American Folk Art for the Smithsonian Institution.

Frederick and Mary Hill worked together in many ways to document, collect, preserve and increase the awareness about primarily the folk arts. Mary McKenzie Hill Fried passed away in 1988 at the age of seventy-four. Frederick P. Fried died July 1994 at the age of eighty-six.

Related Materials:

Materials in the Archives Center, National Museum of American History

E. Howard Clock Company Records (NMAH.AC.00776)

M. Francis Misklea Carousel Collection (NMAH.AC.0665)

Archives Center Carousel Collection (NMAH.AC.0675)

Messmore and Damon, Incorporated Company Records (NMAH.AC.0846)

Anthony W. Pendergast Collection (NMAH.AC.0882)

Frank Paulin Photoprints (NMAH.AC.1373)

Wurlitzer Company Records (NMAH.AC.0469)

Industry on Parade (NMAH.AC.0507)

Reel #191, Craftsmen of the Carousel, 1954. Manufacturing merry-go-rounds for amusement reports. Arrow Development Co., Mountain View, California.

Provenance:

Collection a bequest of the Frederick Fried Estate.

Rights:

Reproduction restricted due to copyright or trademark. Fees for commercial reproduction.

Occupation:

Wood-carvers  Search this

Topic:

Periodicals  Search this

Merry-go-round art  Search this

Signs and signboards  Search this

Weather vanes  Search this

Coin-operated machines  Search this

Architecture -- Details  Search this

Amusement ride equipment industry  Search this

Amusement rides  Search this

Folk art  Search this

Merry-go-round  Search this

Figure sculpture -- United States  Search this

Genre/Form:

Photographs -- 20th century

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Clippings

Blueprints -- 20th century

Books

Auction catalogs

Design drawings

Citation:

Frederick and Mary Hill Fried Folk Art Archives, circa 1662-1999, Archives Center, National Museum of American History

Identifier:

NMAH.AC.0528

See more items in:

Frederick and Mary Hill Fried Folk Art Archives

Archival Repository:

Archives Center, National Museum of American History

GUID:

https://n2t.net/ark:/65665/ep86ee1b419-6b88-4312-8172-ee9f05d72195

EDAN-URL:

ead_collection:sova-nmah-ac-0528

Artist:

Kuhn, Walt 1877-1949  Search this

Type:

Photograph

Date:

1937

Topic:

Landscape--Vermont  Search this

Landscape--Tree  Search this

Architecture--Detail--Fence  Search this

Image number:

JUL J0081250

See more items in:

Photograph Study Collection

Data Source:

Photograph Study Collection, Smithsonian American Art Museum

EDAN-URL:

edanmdm:siris_jul_81251