Search Results

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 (318 boxes)

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 (.W cubic feet), 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 Restricted Materials. 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 Offi-cial Standard Names prepared by the U.S. Board on Geographic Names, Of-fice 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).

Series 11 contains restricted letters to Sultner from friends. These materials will become available to the public in the year 2031. Twenty-three document boxes of clippings and magazine articles found in standard magazines and newspapers (e.g., Time, Life, Look, Modern Ma-turity, etc.) were destroyed. These materials represented general arti--cles being published on a number of topics during Sultner's lifetime. A list of subject file headings Sultner used is with the manuscript mate-rials.

A second grouping of materials destroyed were nine filing cabinet drawers of travel material--maps, guide books, and other tourist pamphlets used by Sultner on his travels. This material, as with the first group of ma-terial, was of the common variety easily found. Any books or pamphlets found with the clippings were sorted out and sent to Smithsonian Institu-tion Libraries. Other library material that came in with the estate was sent immediately to the library and disposed of through their channels. Any office equipment, such as filing cabinets and supplies, etc., has been put to use in the National Museum of American History.

Arrangement:

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

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.

General:

References in notebook to tapes not located:

5/1960 Laddsl--Pasadena, CA (Thornton Ladd, Helen Peabody, me, Mrs. Ladd

5/11/1968 Glen Foerd, dinner party--F. Tonner, T[onner] tribute

List of Illustrations:

Frontispiece: Portrait of Donald Harvey Sultner-Welles by Ludwig Harren, Nuremberg, Germany, May, 1957. Series 6: Photo¬prints, box 6; Series 7: Photonegatives, 700.1.

vii Donald Sultner-Welles inspecting slides at his 2101 E. Market Street apartment. Photograph by Gretchen H. Goughnour, York, Pennsylvania, December 1958. Series 6: Photoprints, box 6, folder 5; Series 7: Photonegatives, Box 11, 696.1.

 Sultner-Welles with Rollei, Kobe, Japan, April 1959. Press photograph, photographer unknown. Series 7: Photonegatives, 687.1.

10 Americana by the Roadside" (boy with soda, Beech Creek, North Carolina). Series 5, Subseries 5: Subjects, Box 102: 6.3.

20 "Americana in Europe" (sign: "To the Elephant Kraal," South Africa). Series 5, Subseries 5: Subjects, Box 102: 6.33.

39 North Miami Beach Motel, Florida, February 1960. Series 5, Subseries 1: United States, Box 8: 9.11. SI Neg. 87-326, Videodisc Frame 2942.

40 Beech Creek, North Carolina (portrait of elderly woman), June 1956. Series 5, Subseries 1: United States, Box 28: 12.10. SI Neg. 87-327, Videodisc Frame 10156.

97 Brookgreen Sculpture Garden, South Carolina, ca. 1963. Series 5, Subseries 1: United States, Box 35.35.11. SI Neg. 87-328; Videodisc Frame 12747.

98 "Six Irrigation Paddlers Outside Hue," South Vietnam, 1959. Series 5, Subseries 2: World, Box 81: 35.11; also Series 7: Photonegatives, 658.1 (copy neg.). Videodisc Frame 27960.

151 Alkmaar Cheese Market, The Netherlands, September 1969. Series 5, Subseries 2: World, Box 70: 17.9. SI Neg. 87-329; not shown on videodisc.

152 African Cruise: Victoria Falls, Rhodesia, February 1972. Series 5, Subseries 3: Cruises, Box 83: 9.12. SI Neg. 87-330, Videodisc Frame 28344.

166 Il Galero, Italy, July 1966. Series 5, Subseries 4: European Architectural Styles, Box 99: 48.4. SI neg. 87-331.

179 "Baroque--Germany: Alterding," July 1965. Series 5, Subseries 4: European Architectural Styles, Box 94: 1.8. SI Neg. 87-332, Videodisc Frame 31310.

180 Design Elements, Hotel Fontainebleau, New Orleans,, Louisiana, April, 1961. Series 5, Subseries 5: Subjects, Box 106: 23.2. SI Neg. 87-333, Videodisc Frame 34912.

192 Charles Sheeler, ca. 1957-1965. Series 5, Subseries 9: Lectures, Box 169: 49.2. SI Neg. 87-334. Videodisc Frame 52713.

238 "Ba-Rococo," Detail, Ottobeuren Church, Bavaria. Series 5, Subseries 7: Framed Subjects, Box 141: 47.7, Videodisc Frame 45665.

276 Villa Barbaro, Maser, Treviso, Italy. Series 7. Photonegatives, 715.1. SI Neg. 87-335.

281 "Water--Economics," Storm-Damaged Beach House. Series 5, Subseries 8: Notecard Transparencies, Box 155: 22.12. SI Neg. 87-336.

282 Market in Madeira. Series 5, Subseries 9: Lectures, Box 161: 48.12. SI Neg. 87-337, Videodisc Frame 48435.

298 Children (South Carolina?). Series 5, Subseries 9: Lectures, Box 104: 17.2. SI Neg. 87-338.

311 Goethe Statue, Chicago, Illinois. Series 7: Photonegatives, 678.1.

316 Feeding Gulls, Florida. Series 7. Photonegatives, 684.1.

331 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 740.1.

332 Sultner Showing Slides to Garden Club, Caterpillar Tractor Co. Auditorium, Dec. 1958. Photograph by Gretchen H. Goughnour, York, Penn. Series 7: Photonegatives, 690.1.

340 Montage for Sultner's concerts. Series 8: Prints, Drawings, Mixed Media, filing case. Series 7: Photonegatives, 742.1.

341 Children, Ohio (boy in box in wagon) Series 5, Subseries 9: Lectures, Box 165: 13.2; Series 7: Photonegatives, 667.4 (copy neg.)

352 Publicity/brochure photograph. Drinking cup and water, Longwood Gardens, Pennsylvania. Series 7: Photonegatives, 651.1.

353 Publicity/brochure photograph, Milles Gardens, Stockholm, Sweden. Series 7: Photonegatives, 659.1.

Restrictions:

Collection is open for research.

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

EDAN-URL:

ead_collection:sova-nmah-ac-0145

Creator:

Dawson, Manierre, 1887-1969  Search this

Names:

Armory Show (1913: New York, N.Y.)  Search this

Blum, Jerome, 1884-1956  Search this

Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this

Heap, Jane  Search this

Pach, Walter, 1883-1958  Search this

Stein, Gertrude, 1874-1946  Search this

Watson, Dudley Crafts, 1885-  Search this

Extent:

30 Items ((on 2 microfilm reels))

Type:

Collection descriptions

Archival materials

Date:

1904-1963

Scope and Contents:

Letters; a journal, 1908-1922, 1939-1940; a record of Dawson's painting and sculpture, 1904-1963; and an exhibition catalog.

REEL 64: Letters received including, 11 from Walter Pach of the Association of American Painters and Sculptors, 7 from Dudley Crafts Watson as Director of the Milwaukee Art Society, and letters from Jerome Blum, from Chicago journalist Hi Simousy, and from G. G. Wing, president of the Ludington State Bank, for which Dawson painted a mural. Also included is a xerox of a journal, 1908-1922, 1939-1940, in which Dawson comments on: work as a draftman for Holabird and Roche, Chicago, and other architectural firms, meetings with Gertrude Stein, Arthur Davies, Dudley Watson and Walter Pach; the Armory Show, the Montross Gallery Show and the subsequent tour; meetings with Margaret Anderson and Jane Heap. Entries after 1914 record domestic affairs on Dawson's farm in Ludington, with intermittent comments on his painting and sculpture.

REEL 2428: Dawson's record of paintings and sculpture, 1904-1963; and an exhibition catalog of the Milwaukee Art Society, 1914.

Biographical / Historical:

Painter, sculptor; Milwaukee, Wisconsin, Chicago, Illnois, Ludington, Michigan.

Provenance:

Material on reel 64 donated 1969 by Manierre Dawson. Material on reel 2428 donated 1982 by Marianne Gedo, who was doing research on Dawson.

Restrictions:

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

Occupation:

Painters  Search this

Sculptors  Search this

Topic:

Art, American  Search this

Identifier:

AAA.dawsmani

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-dawsmani

Creator:

Milch Gallery  Search this

Names:

E. & A. Milch, Inc.  Search this

Milch Galleries  Search this

Vonnoh, Robert William, 1858-1933  Search this

Acheson, Alice  Search this

Adams, Charles L., 19th cent  Search this

Adams, Wayman, 1883-1959  Search this

Aiken, Charles Avery, 1872-1965  Search this

Albee, Grace  Search this

Anderson, Karl, 1874-1956  Search this

Appel, Marianne, 1913-1988  Search this

Archipenko, Alexander, 1887-1964  Search this

Arms, John Taylor, 1887-1953  Search this

Ascher, Mary G. (Mary Goldman), b. 1900  Search this

Azzaretti, Faust  Search this

Bacon, Peggy, 1895-1987  Search this

Baer, Martin, 1895-1961  Search this

Ballin, Hugo, 1879-1956  Search this

Barlow, Myron, 1873-1937  Search this

Barmore, Charles  Search this

Barr, Charles H.  Search this

Barr, Norman, 1908-  Search this

Barrymore, Lionel, 1878-1954  Search this

Baumann, Gustave, 1881-1971  Search this

Beal, Reynolds, 1866-1951  Search this

Bellows, George, 1882-1925  Search this

Benson, Frank Weston, 1862-1951  Search this

Biddle, George, 1885-1973  Search this

Blackburn, Morris, 1902-1979  Search this

Blakelock, Ralph Albert, 1847-1919  Search this

Blanch, Arnold, 1896-1968  Search this

Blanch, Lucile, 1895-1981  Search this

Bluemner, Oscar, 1867-1938  Search this

Blumenschein, Ernest Leonard, 1874-1960  Search this

Bohm, Max, 1868-1923  Search this

Bohrod, Aaron  Search this

Bosa, Louis, 1905-  Search this

Breckenridge, Hugh H. (Hugh Henry), 1870-1937  Search this

Bridgman, Frederick Arthur, 1847-1928  Search this

Browne, George Elmer, 1871-1946  Search this

Bruce, Edward, 1879-1943  Search this

Brush, George de Forest, 1855-1941  Search this

Buck, Claude, 1890-1974  Search this

Burlin, Paul, 1886-1969  Search this

Burr, George Elbert, 1859-1939  Search this

Butler, Howard Russell, 1856-1934  Search this

Calder, Alexander Stirling, 1870-1945  Search this

Carroll, John, 1892-1959  Search this

Chamberlain, Samuel, 1895-1975  Search this

Cheffetz, Asa, 1896-1965  Search this

Christy, Howard Chandler, 1873-1952  Search this

Cole, Alphaeus Philemon, 1876-1988  Search this

Congdon, William, 1912-  Search this

Crane, Bruce, 1857-1937  Search this

Curran, Charles C. (Charles Courtney), 1861-1942  Search this

Daingerfield, Elliott, 1859-1932  Search this

Davey, Randall, 1887-1964  Search this

De Groot, Adelaide Milton, b. 1876  Search this

DeCamp, Joseph, 1858-1923  Search this

Dehn, Adolf, 1895-1968  Search this

Dessar, Louis Paul, 1867-1952  Search this

Dewing, Thomas Wilmer, 1851-1938  Search this

Diederich, William Hunt, 1884-1953  Search this

Dike, Phil, 1906-1990  Search this

Donoho, Gaines Ruger, 1857-1916  Search this

Duncan, Charles, b. 1892  Search this

Eakins, Susan Macdowell  Search this

Etnier, Stephen, 1903-1984  Search this

Farnsworth, Jerry, 1895-1982  Search this

Fechin, Nikolai Ivanovich, 1881-1955  Search this

Fenton, Beatrice, 1887-1983  Search this

Fitzgerald, James, 1899-1971  Search this

Flagg, James Montgomery, 1877-1960  Search this

Fredenthal, David, 1914-1958  Search this

French, Daniel Chester, 1850-1931  Search this

Fuchs, Emil, 1866-1929  Search this

Gallagher, Sears, 1869-1955  Search this

Ganso, Emil, 1895-1941  Search this

Gaspard, Leon, 1882-1964  Search this

Genth, Lillian Mathilde, 1876-1953  Search this

Gonzalez, Xavier, 1898-1993  Search this

Greenwood, Marion, 1909-1970  Search this

Gregory, John, 1879-1958  Search this

Gregory, Waylande, 1905-1971  Search this

Grosz, George, 1893-1959  Search this

Halpert, Samuel, 1884-1930  Search this

Hart, George Overbury, 1868-1933  Search this

Hartmann, Sadakichi, 1867-1944  Search this

Haskell, Ernest, 1876-1925  Search this

Hassam, Childe, 1859-1935  Search this

Heerman, Norbert Leo, b. 1891  Search this

Heinz, Charles, 1885-1955  Search this

Hennings, E. Martin, 1886-1956  Search this

Henri, Robert, 1865-1929  Search this

Hopkinson, Charles, 1869-1962  Search this

Ireland, Leroy, 1889-1970  Search this

Judson, Alice, d. 1948  Search this

Kalish, Max, 1891-1945  Search this

Katz, A. Raymond (Alexander Raymond), 1895-1974  Search this

Kingman, Dong, 1911-  Search this

Kroll, Leon, 1884-1974  Search this

Kronberg, Louis, 1872-1965  Search this

Kupferman, Lawrence Edward, 1909-1982  Search this

Laufman, Sidney, 1891-  Search this

Lawson, Ernest, 1873-1939  Search this

Lever, Hayley, 1876-1958  Search this

Lie, Jonas, 1880-1940  Search this

Linde, Ossip L.  Search this

Low, Will Hicok, 1853-1932  Search this

Lucioni, Luigi, 1900-  Search this

Lutz, Dan, 1906-  Search this

MacRae, Emma Fordyce, 1887-1974  Search this

Manship, Paul, 1885-1966  Search this

Melchers, Gari, 1860-1932  Search this

Metcalf, Willard Leroy, 1858-1925  Search this

Meyerowitz, William, 1887-1981  Search this

Milch, Albert, 1881-1951  Search this

Milch, Edward, 1865-1954  Search this

Moffett, Ross  Search this

Mora, F. Luis (Francis Luis), 1874-1940  Search this

Moran, Thomas, 1837-1926  Search this

Murphy, Hermann Dudley, 1867-1945  Search this

Murphy, John Francis, 1853-1921  Search this

Myers, Jerome, 1867-1940  Search this

Nagler, Edith Kroger, 1890-1986  Search this

Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this

Ochtman, Leonard, 1854-1934  Search this

Parshall, DeWitt, 1864-1956  Search this

Pearson, Ralph M., 1883-1958  Search this

Perrine, Van Dearing, 1868 or 9-1955  Search this

Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this

Pleissner, Ogden M.  Search this

Pollet, Joseph C., 1897-1979  Search this

Pousette-Dart, Nathaniel, 1886-1965  Search this

Pugh, Mabel, b. 1891  Search this

Pène Du Bois, Guy , 1884-1958  Search this

Redfield, Edward Willis, 1869-1965  Search this

Ritschel, William, 1864-1949  Search this

Romano, Umberto, 1906-  Search this

Rungius, Carl, 1869-1959  Search this

Ryder, Chauncey F., 1868-1949  Search this

Ryerson, Margery  Search this

Sample, Paul, 1896-1974  Search this

Sawyer, Wells, 1863-1960  Search this

Schofield, Walter Elmer, 1867-1944  Search this

Shapiro, David, 1916-  Search this

Sharp, Joseph Henry, 1859-1953  Search this

Sheets, Millard, 1907-1989  Search this

Shuster, Will  Search this

Speicher, Eugene Edward, 1883-1962  Search this

Speight, Francis, 1896-1989  Search this

Sterne, Maurice, 1878-1957  Search this

Sterner, Albert, 1863-1946  Search this

Tanner, Henry Ossawa, 1859-1937  Search this

Thayer, Abbott Handerson, 1849-1921  Search this

Trebilcock, Paul, 1902-1981  Search this

Tryon, Dwight William, 1849-1925  Search this

Twachtman, John Henry, 1853-1902  Search this

Ufer, Walter, 1876-1936  Search this

Varian, Dorothy, 1895-1985  Search this

Warneke, Heinz (Heinrich), 1895-1983  Search this

Watkins, Franklin Chenault, 1894-1972  Search this

Waugh, Frederick Judd, 1861-1940  Search this

Weir, John F. (John Ferguson), 1841-1926  Search this

Weir, Julian Alden, 1852-1919  Search this

White, Henry Cooke, 1861-1952  Search this

Wickey, Harry  Search this

Wiggins, Carleton, 1848-1932  Search this

Wiles, Irving Ramsay, 1861-1948  Search this

Woodward, Robert Strong, 1885-1957  Search this

Woodward, Stanley Wingate, 1890-1970  Search this

Wyeth, Andrew, 1917-2009  Search this

Zucker, Jacques, 1900-  Search this

Extent:

42.2 Linear feet

Type:

Collection descriptions

Archival materials

Gallery records

Photographs

Date:

1911-1995

Summary:

The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

Scope and Content Note:

The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."

Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.

Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.

Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.

Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.

The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

See Appendix for a list of Milch Gallery exhibitions and checklists

Arrangement:

Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.

Series 1: Alphabetical Files, 1911-1962

Series 2: Sales Records and Inventories, 1911-1969, undated

Series 3: Financial Records, 1914-1980, undated

Series 4: Printed Matter, 1996, 1910-1967, undated

Series 5: Photographs, 1903-circa 1944, undated

Series 6: Miscellaneous, 1916-1970, undated

Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)

Historical Note:

Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.

Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).

From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.

Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.

Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.

1911 -- Edward Milch Galleries opens at 939 Madison Ave.

1912 -- First exhibition at Edward Milch Galleries

1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.

1918 -- Milch Galleries Art Notes begins publication

1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary

1947 -- Milch Galleries moves to 55 East 57th St.

1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary

1953 -- Death of Edward Milch (1865-1953)

1957 -- Milch Galleries moves to 21 East 67th St.

1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)

1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery

1981 -- Death of Harold C. Milch (1904-1981)

1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)

Appendix: List of Milch Gallery Exhibitions and Checklists:

Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.

Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists

Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On

April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox

Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes

Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists

Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West

Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture

Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch

April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.

Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne

Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California

Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer

Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.

Feb. 14-26, 1916* -- Paintings by Guy Wiggins

Nov. 4-18, 1916* -- Opening Exhibition

Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb

Jan. 15-27, 1917* -- Paintings by Helen M. Turner

Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.

Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill

March 6-24, 1917 -- Ten American Painters

March 13-24, 1917* -- George Bellows

March 14-24, 1917* -- Paintings by Frederick J. Waugh

March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.

April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock

April 15-27, 1917* -- Paintings by Valentino Molina

April 24-May 5, 1917* -- Paintings by Thalia Millet

Oct. 27-Nov. 17, 1917* -- William Jean Beauley

Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell

Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"

Feb. 25-March 16, 1918* -- Paintings by Robert Henri

March 13-24, 1918 -- George Bellows

March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey

April 8-, 1918* -- Etchings by Allen Lewis

Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.

Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell

Jan. 13-25, 1919* -- Paintings by Mary Prindeville

Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf

Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin

Feb. 18-March 1, 1919* -- Paintings by Jerome Myers

March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.

March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.

March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus

April 8-30*, 1919 -- Paintings by Leading American Artists

April 19-May 1*, 1919 -- Paintings by Valentino Molina

May 3-22, 1919 -- Recent American Sculpture

May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden

May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam

Nov. 16-Dec. 6, 1919 -- Childe Hassam

Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam

Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave

Feb. 2-14, 1920 -- George Biddle

Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle

Feb. 16-28, 1920* -- Paintings by Ossip L. Linde

March 1-12, 1920 -- Bruce Crane

March 1-13, 1920 -- Bruce Crane, A.N.A.

March 15-April 3, 1920 -- Willard L. Metcalf

April 5-20, 1920 -- Paintings

April 8-30 [1920] -- Exhibition of Paintings by Leading American Artists

April 15-May 1, 1920 -- Valentino Molina

Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards

Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert

Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein

Nov. 15-27, 1920 -- Childe Hassam

Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky

Dec., 1920* -- Exhibition by George Biddle

Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz

Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith

circa 1920 -- Ossip L. Linde

circa 1920 -- William Meyrowitz

circa 1920 -- Exhibition

Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy

Jan. 31-Feb. 12, 1921 -- American Art

Feb. 14-26, 1921 -- Guy Wiggins

Feb. 14-26, 1921 -- Arthur G. Goodwin

Feb. 28-March 12, 1921 -- Paintings by Robert Henri

March 14-April 9, 1921 -- Paintings by Gari Melchers

March 28-April 9, 1921 -- Peter Marcus

April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps

April 11-30, 1921 -- Paintings by Willard Metcalf

May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds

Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards

Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams

Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne

Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements

Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky

Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings

circa 1921 -- Exhibition

Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams

Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall

Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.

March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine

March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.

Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White

Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter

Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.

Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf

March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard

March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.

April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto

April 19-May 6, 1923 -- Paintings by Leading American Artists

Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.

Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)

Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce

Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg

Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman

Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf

March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.

Dec. 1-27, 1924 -- Maurice Fromkes

Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen

Jan. 19-31, 1925 -- Martha Walter

Feb. 16-March 7, 1925 -- Willard L. Metcalf

March 9-21, 1925 -- John Noble

March 23-April 11, 1925 -- Bruce Crane

May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits

May 18-30, 1925 -- Paintings by Robert Brackman

Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf

Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,

Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond

Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm

Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel

April 13-May 2, 1926 -- Jonas Lie

April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley

Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen

Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson

Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto

Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)

Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield

Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons

Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke

March 28-April 16, 1927 -- Paintings by Henry Golden Dearth

April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland

April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston

Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson

Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass

Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers

Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish

Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria

Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard

Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson

Feb. 7-April 29, 1928 -- Alfred Hutty

Feb. 13-25, 1928 -- Water Colors by Alice Judson

March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons

March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman

March 12-24, 1928 -- Sculpture by Heinz Warnecke

March 26-April 14, 1928 -- Water Colors by John Whorf

April, 1928 -- Water Colors by William Ritschel, N.A.

April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis

Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok

Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia

Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson

Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge

Dec. 1-28, 1928 -- Alfred Hutty

Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters

Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess

Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia

Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.

Dec. 27-Jan. 14, 1929 -- Erick Berry

Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition

Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard

circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson

Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson

Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm

Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway

Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne

Feb. 25-March 9, 1929 -- Paintings by Truman Fassett

March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski

March 11-23, 1929 -- Louis Ritman

March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond

March 25-April 6, 1929 -- Water Colors by Armin Hansen of California

March 25-April 6, 1929 -- Sculptures by Roy Sheldon

April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist

Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer

Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke

Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley

Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever

Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok

Dec. 2-21, 1929 -- Paintings by Maurice Fromkes

Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge

Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley

March 15-April 3 [192?] -- Paintings by Willard L. Metcalf

March 28-April 16 [192?] -- Paintings by Henry Golden Dearth

April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A

Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah

Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards

Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.

Oct. 25-Nov. 13 [192?] -- John F. Carlson

[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge

Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry

Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White

Feb., 1930 -- Thelma Wood

Feb. 3-15, 1930 -- Paintings by Horace Brown

Feb. 17-March 1, 1930 -- Paintings by Francis Speight

Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess

March 3-15, 1930 -- Paintings by John Noble

March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors

March 17-29, 1930 -- Alexander Warshawsky

March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou

March 31-April 12, 1930 -- Emmanuel Andrew Cavacos

April 14-26, 1930 -- Water Colors by John Whorf

Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton

Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Nov. 17-29, 1930 -- Joseph Szekely

Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"

Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture

Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley

Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston

Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire

Jan. 20-Feb. 1, 1931 -- Nelson C. White

Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle

Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman

Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess

Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor

March 2-14, 1931 -- Recent Paintings by Alice Judson

March 2-28, 1931 -- Paintings & Drawings by Gari Melchers

March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown

March 30-April 11, 1931 -- Paintings by Louis Kronberg

March 30-April 11, 1931 -- Watercolors by John Whorf

April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits

April 13-25, 1931 -- Louis Kronberg

April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah

April 13-May 2, 1931 -- Abbott H. Thayer

Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson

Oct. 19-30, 1931 -- Portraits by William Steene

Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi

Nov. 9-21, 1931 -- Paintings by Bessie Lasky

Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies

Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards

Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore

Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge

Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.

Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber

Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris

Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters

March 7-19, 1932 -- Paintings by Mrs. B. King Couper

March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll

March 28-April 9, 1932 -- Watercolors by John Whorf

April 11-30, 1932 -- Forty Years of American Art

Oct. 3-15, 1932 -- New Paintings by American Artists

Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier

Nov. 7-30, 1932 -- Paintings by Edward Bruce

circa 1932 -- Recent Paintings by Stephen Etnier

Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins

March 6-25, 1933 -- 19th and 20th Century Watercolors

March 27-April 14, 1933 -- Paintings by Francis Speight

April 17-May 6, 1933 -- Water Colors by John Whorf

May 15-31, 1933 -- 19th Century American Landscape Artists

Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur

Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier

March 19-April 7, 1934 -- Water Colors by John Whorf

April 16-May 5, 1934 -- Bali Studies by Maurice Sterne

June-Aug., 1934 -- Paintings by American Artists

Sept., 1934 -- Paintings by American Artists

Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists

Nov. 5-21, 1934 -- Paintings by Sidney Laufman

Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce

circa 1934 -- American Figure Paintings of the 19th and 20th Century

Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate

Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists

March 4-22, 1935 -- Recent Paintings by Stephen Etneir

March 25-April 13, 1935 -- Water Colors by John Whorf

April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll

May 20-June, 1935 -- Group Exibhition of Paintings

Summer, 1935 -- Paintings by American Artists

Oct. 1-26, 1935 -- Paintings by Childe Hassam

Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets

through Dec., 1935 -- Paintings by Americans

Jan. 1936 -- Paintings by Americans

Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters

March 2-21, 1936 -- Stephen Etnier

March 30-April 19, 1936 -- Watercolors by John Whorf

May 18-June, 1936 -- Paintings by American Artists

Summer, 1936 -- Paintings by American Artists

September, 1936 -- Paintings by American Artists

Oct. 12-31, 1936 -- Contemportary Viewpoint

through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings

circa 1936 -- Landscapes--Contemporary Viewpoint

Jan. 11-30, 1937 -- Selected Landscapes

Feb., 1937 -- Contemporary American Sculpture

March 15-April 3, 1937 -- Watercolors by Millard Sheets

April 12-30, 1937 -- John Whorf

April 27-May 16, 1937 -- Maurice Sterne

May, 1937 -- Paintings by American Artists

Summer, 1937 -- Paintings

Oct. 1-15, 1937 -- Recent Watercolors

Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche

Nov. 8-30, 1937 -- Paintings by American Artists

Dec. 6-24, 1937 -- Watercolors by Lester Field

Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier

Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper

Feb. 7-26, 1938 -- Colonial Portraits

March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet

April 4-23, 1938 -- Recent Watercolors by John Whorf

Summer, 1938 -- Paintings by American Artists

through Oct., 1938 -- Paintings by American Artists

Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer

Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists

Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer

Feb. 6-25, 1939 -- Harry Hering

March 6-31, 1939 -- Figure Paintings by American Artists

April 3-22, 1939 -- Recent Watercolors by John Whorf

May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets

Summer, 1939 -- Selected Group of Paintings by American Artists

Sept., 1939 -- Paintings and Watercolors by American Artists

through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists

Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary

Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis

Dec., 1939 -- Paintings for the Home

Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix

[193?] -- Paintings by American Artists

Jan. 2-27, 1940 -- Stephen Etnier

Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson

March 11-30, 1940 -- Daniel Serra Paintings

April 8-27, 1940 -- Recent Watercolors by John Whorf

April 28-May 18, 1940 -- Rubin Recent Paintings

through June 29, 1940 -- Paintings by a Selected Group of American Artists

through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists

Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists

Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer

Nov. 18-Dec. 7, 1940 -- Helen Sawyer

Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne

Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists

Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight

April 7-26, 1941 -- Recent Watercolors by John Whorf

April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol

May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists

Summer, 1941 -- Exhibition of Selected Paintings by American Artists

Sept., 1941 -- A Selected Group of Paintings by Americna Artists

Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists

Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors

Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway

Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball

Dec. 8-27, 1941 -- Edith Blum Paintings

Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier

through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists

March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists

April 6-25, 1942 -- Recent Watercolors by John Whorf

May, 1942 -- Selected Paintings by Contemporary American Artists

June 2-13, 1942 -- Yun Gee

Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists

Summer, 1942 -- Paintings by Selected American Artists

Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists

Nov. 9-30, 1942 -- Watercolors by American Artists

Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch

April 4-24, 1943 -- Recent Watercolors by John Whorf

April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam

May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook

June, 1943 -- Selected Paintings by American Artists

Summer, 1943 -- Exhibition of Paintings by American Artists

Sept., 1943 -- Paintings by a Selected Group of American Artists

Oct. 4-23, 1943 -- Paintings by Yun Gee

Nov., 1943 -- Recent Paintings by a Selected Group of American Artists

Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald

Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman

March 6-25, 1944 -- Paintings by Jessie Ansbacher

April 3-22, 1944 -- Recent Watercolors by John Whorf

May, 1944 -- Paintings by Important American Artists

Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists

Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists

Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway

Oct. 23-Nov. 11, 1944 -- Harry Hering

Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman

Dec., 1944 -- Paintings for the Home by American Artists

Jan. 3-13, 1945 -- Paintings by Therese Steinhardt

Jan. 22-Feb. 10, 1945 -- Louis Ritman

Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.

Feb. 19-March 10, 1945 -- Recent Watercolors by Eliot O'Hara, A.N.A. (Elect)

March, 1945 -- Paintings by a Selected Group of Contemporary Artists

April 9-28, 1945 -- Recent Watercolors by John Whorf

May, 1945 -- Paintings by American Artists, Late 19th and Early 20th Century

Summer, 1945 -- Paintings by a Selected Group of Contemporary American Artists

Oct., 1945 -- Paintings by a Group of Selected American Artists

Oct. 22-Nov. 10, 1945 -- Helen Sawyer

Nov. 19-Dec. 1, 1945 -- Recent Paintings by Stephen Etnier

Nov. 19-Dec. 8, 1945 -- Hilde Kayn

Dec., 1945 -- Paintings for the Home by American Artists

Dec. 31-Jan. 19, 1946 -- Paintings by Stpehen Etnier

Jan. 28-Feb. 16, 1946 -- Paintings by Alexandra Pregel

Feb. 18-March 9, 1946 -- W.H. Singer

March 11-30, 1946 -- Paintings by American Artists

April 8-27, 1946 -- Recent Watercolors by John Whorf

Summer, 1946 -- Paintings by 19th and 20th Century Americans

Oct. 7-26, 1946 -- Recent Watercolors by Allen Ingles Palmer

Oct. 28-Nov. 16, 1946 -- Paintings by Ferdinand Warren

Nov. 18-Dec. 7, 1946 -- Louis Di Valentin

Dec. 9-29, 1946 -- Recent Watercolors by Wm. F.C. Ewing and Richard A. Kimball

Jan., 1947 -- Paintings by Selected American Artists

Jan. 13-Feb. 1, 1947 -- Gerrit V. Sinclair Paintings

Feb. 3-21, 1947 -- Recent Watercolors by Jerri Ricci

Feb. 24-March 15, 1947 -- Childe Hassam Paintings

March 31-April 19, 1947 -- Recent Watercolors by John Whorf

April 21-May 10, 1947 -- Pastels of Charleston by Hobson Pittman

June 2-13, 1947 -- Yun Gee

Oct. 6-25, 1947 -- Special Exhibition of American Paintings Honoring the Great Artists Who Have Been Shown in Our Galleries

Oct. 27-Nov. 15, 1947 -- New Paintings, Oil Studies, and Drawings by Leon Kroll

Nov. 17-Dec. 6, 1947 -- F. Douglas Greenbowe Watercolors

Jan. 19-Feb. 7, 1948 -- Paintings by Alexandria Pregel

March 22-April 3, 1948 -- American Art

March 22-April 3, 1948 -- Paintings by Artists Equity Association Members

May, 1948 -- Paintings by a Group of Selected American Artists

May 24-June 5, 1948 -- Paintings by New York Artists, 16th Exhibition of the Arthur Schwieder Group

Oct. 5-23, 1948 -- Impressions of New York

Oct. 25-Nov. 13, 1948 -- Paintings by Ernest Lawson

Nov. 15-27, 1948 -- Sculpture by Eleanor M. Mellon

Dec. 20-Jan. 8, 1949 -- Drawings by Frank di Gioia

Jan. 10-29, 1949 -- Six Watercolorists [Greenbowie, Knauth, Newman, Palmer, Ricci and Whorf]

Jan. 31-Feb. 19, 1949 -- New Paintings by Ferdinand Warren

Feb. 21-March 12, 1949 -- Paintings by Louis Di Vanentin

April 4-23, 1949 -- Recent Watercolors by John Whorf

April 25-May 7, 1949 -- Paintings by Mildred Hayward

May 9-21, 1949 -- Paintings by New York Artists, 17th Exhibition of the Arthur Schwieder Group

June 17-July 5, 1949 -- Paintings by Guy Pene DuBois

Oct. 4-29, 1949 -- Opening Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

Oct. 24-Nov. 12, 1949 -- Recent Watercolors by Henry Edmiston

Nov. 14-Dec. 3, 1949 -- Paintings by John H. Twachtman

Dec. 5-24, 1949 -- F. Douglas Greenbowe Watercolors

[194?] -- Paintings for the Home by American Artists

June [194?] -- 2-13Yun Gee

Jan. 9-28, 1950 -- Paintings by Gordon Samstag

Jan. 30-Feb. 18, 1950 -- George C. Ault Memorial Exhibition

Feb. 20-March 11, 1950 -- Recent Paintings by David Burr Moreing

March 13-April 1, 1950 -- Paintings by Frank di Gioia

April 3-22, 1950 -- Recent Watercolors by John Whorf

April 24-May 13, 1950 -- Paintings by Contemporary American Artists

May 15-27, 1950 -- Paintings by New York Artists, 18th Exhibition of the Arthur Schwieder Group

Oct. 2-21, 1950 -- Recent Paintings by Benjamin Kopman

Nov. 13-Dec. 2, 1950 -- Paintings by Stephen Etnier

Dec. 4-30, 1950 -- Special Exhibition of American Paintings in Honor of the Philadelphia Museum of Art Diamond Jubilee

through Dec. 23, 1950 -- Watercolors and Drawings by Frank di Gioia

Jan. 8-27, 1951 -- New Gouaches of the Circus and Theatre by Walter Philipp

Jan. 29-Feb. 17, 1951 -- Louis Ritman Paintings

Feb. 19-March 10, 1951 -- Recent Watercolors by Jerri Ricci

March 12-31, 1951 -- Paintings, Panels, Figures of Africa, Belgian Congo, Bechuanaland, and Rhodesia by Jay Robinson

April 2-21, 1951 -- Recent Watercolors by John Whorf

April 24-May 12, 1951 -- Sculpture and Drawings of Nicolaus Koni

May 21-June 1, 1951 -- Paintings by New York Artists, 19th Exhibition of the Arthur Schwieder Group

Oct. 22-Nov. 10, 1951 -- Recent Paintings by Thomas Blagden

Nov. 12-Dec. 1, 1951 -- Recent Paintings by David Burr Moreing

Dec., 1951 -- Group Exhibition

Jan. 7-26, 1952 -- Paintings of Italy and "Little Italy" by Frank di Gioia

Jan. 28-Feb. 16, 1952 -- London to Algiers, Recent Watercolors by Eliot O'Hara, N.A.

Feb. 18-March 8, 1952 -- Recent Paintings by Jacques Zucker

April 7-26, 1952 -- Recent Watercolors by John Whorf

April 28-May. 10, 1952 -- Paintings by Alexandra Pregel

May 12-24, 1952 -- Paintings by New York Artists, 20th Exhibition of the Arthur Schwieder Group

Oct. 28-Nov. 15, 1952 -- Paintings by John Sharp

Nov. 17-Dec. 6, 1952 -- Stephen Etnier: Recent Paintings

Dec. 8-27, 1952 -- Childe Hassam Watercolors

Jan. 5-24, 1953 -- Jay Robinson

Jan. 26-Feb. 14, 1953 -- Iver Rose

Feb. 16-March 7, 1953 -- Recent Watercolors by Jerri Ricci

April 6-25, 1953 -- Recent Watercolors by John Whorf

May 18-29, 1953 -- Richard Whorf

May 18-29, 1953 -- Paintings by New York Artists, 21st Exhibition of the Arthur Schwieder Group

June, 1953 -- Paintings and Watercolors by 19th and 20th Century American Artists

Oct., 1953 -- Paintings and Watercolors by American Artists

Oct. 26-Nov. 14, 1953 -- Recent Paintings by David Burr Moreing

Nov. 17-Dec. 5, 1953 -- Ogden W. Pleissner Recent Paintings

Dec. 7-30, 1953 -- Recent Landscapes by Sidney Laufman

Jan. 4-23, 1954 -- Paintings of New York's "Little Italy" by Frank di Gioia

Jan. 25-Feb. 13, 1954 -- Round the World by Watercolor with Eliot O'Hara, N.A.

Feb. 15-March 6, 1954 -- Hobson Pittman

March 8-27, 1954 -- Jay Robinson: Kentucky, Part II

April 5-24, 1954 -- John Whorf Watercolors

May 17-28, 1954 -- Paintings by New York Artists, 22nd Exhibition of the Arthur Schwieder Group

Oct. 25-Nov. 13, 1954 -- Recent Watercolors by James Vance

Nov. 15-Dec. 4, 1954 -- Stephen Etnier Recent Paintings

Dec. 6-24, 1954 -- Recent Paintings by Thomas Blagden

Jan. 3-22, 1955 -- Recent Paintings by Jacques Zucker

Jan. 24-Feb. 12, 1955 -- Recent Watercolors by Jerri Ricci

Feb. 14-March 5, 1955 -- Paintings of Spain and Her People by Maurice Fromkes

April 25-May 14, 1955 -- Gluckmann Recent Paintings

May 16-27, 1955 -- Paintings by New York Artists, 23rd Exhibition of the Arthur Schwieder Group

Oct. 24-Nov. 12, 1955 -- Paintings and Gouaches by John Taylor

Nov. 14-Dec. 3, 1955 -- Paintings and Panels by Jay Robinson of West and Central Africa

Dec. 5-30, 1955 -- Childe Hassam and American Impressionism

Jan., 1956 -- Recent Paintings by a Group of American Artists

Feb. 6-25, 1956 -- F. Douglas Greenbowe Watercolors

March, 1956 -- Group Exhibition

April 9-28, 1956 -- John Whorf Watercolors

May, 1956 -- Paintings by a Group of 18 American Artists

May 7-19, 1956 -- Paintings by New York Artists, 24th Exhibition of the Arthur Schwieder Group

Nov. 5-24, 1956 -- Stephen Etnier Recent Paintings

Nov. 27-Dec. 15, 1956 -- Ogden M. Pleissner Recent Paintings

Dec. 1-Jan. 19, 1957 -- Jay Robinson Paintings in Fired Enamel on Copper

Feb. 11-March 2, 1957 -- Recent Paintings by Thomas Blagden

March 4-23, 1957 -- Adolph Dehn

April 15-May 4, 1957 -- John Whorf Watercolors

Oct. 28-Nov. 16, 1957 -- Recent Still Life Paintings by Aaron Bohrod

Jan. 13-Feb. 8, 1958 -- Recent Paintings by a Group of Contemporary Americans

Feb. 10-March 8, 1958 -- Long Island Paintings by Childe Hassam

March 10-29, 1958 -- Paintings by Louis Di Valentin

March 31-April 19, 1958 -- Recent Paintings by Sidney Laufman

April 21-May 10, 1958 -- John Whorf Watercolors

May, 1958 -- Americans: 1865-1925

June, 1958 -- Exhibit to Benefit Friends of the Whitney Museum

June 3-27, 1958 -- American Paintings and Sculpture

Oct. 6-25, 1958 -- Recent Paintings by David Shapiro

Oct. 27-Nov. 15, 1958 -- Stephen Etnier Recent Paintings

Nov. 17-Dec. 6, 1958 -- Paul Sample Recent Paintings

Dec. 8-24, 1958 -- Recent Drawings and Watercolors of France, Italy, Spain, and North Africa by Frank di Gioia

Jan. 19-Feb. 7, 1959 -- Marion Greenwood Paintings

March 2-21, 1959 -- Leon Kroll Paintings and Drawings

March 23-April 18, 1959 -- Elmer L. Mac Rae Forgotten Artist of the 1913 Armory Show

May 4-23, 1959 -- Philip Visson

Oct., 1959 -- Paintings by American Artists

Oct. 26-Nov. 14, 1959 -- Recent Painting by Aaron Bohrod

Nov. 17-Dec. 5, 1959 -- Ogden M. Pleissner Recent Paintings

Dec. 7-30, 1959 -- Recent Oils and Watercolors by Thomas Blagden

Jan. 18-Feb. 6, 1960 -- Elmer L. Mac Rae, Re-Discovered Artist of the 1913 Armory Show and a Founder of "The Pastellists"

through Jan. 15, 1960 -- Paintings by American Artists

March 14-April 2, 1960 -- Xavier Gonzalez Recent Paintings

April 4-23, 1960 -- Paintings by Louis Bosa

April 25-May 14, 1960 -- Grigory Gluckmann

May-June, 1960 -- Group of Contemporary Armerican Artists

Oct. 10-29, 1960 -- Adolf Dehn Caseins and Watercolors

Oct. 31-Nov. 19, 1960 -- Stephen Etnier

Dec., 1960 -- Paintings for the Home

Jan., 1961 -- Group Exhibition, 19th and 20th Century Americans

Jan. 30-Feb. 18, 1961 -- Recent Watercolors by Jerri Ricci

Feb. 20-March 11, 1961 -- Frank di Gioia Recent Paintings

March 20-April 8, 1961 -- David Fredenthal Memorial Exhibition

April 10-29, 1961 -- Allen Tucker

May, 1961 -- Contemporary American Artists

June-July, 1961 -- 19th & 20th Century American Artists

Oct. 10-28, 1961 -- David Shapiro Recent Paintings

Oct. 31-Nov. 18, 1961 -- Aaron Bohrod

Nov. 21-Dec. 9, 1961 -- Thomas Fransioli

Feb. 6-24, 1962 -- Retrospective Exhibition, Maurice Sterne

March 6-24, 1962 -- Three Watercolorists: Childe Hassam, John Whorf, and David Fredenthal

April 3-21, 1962 -- Thomas Blagden

April 24-May 12, 1962 -- Grigory Gluckmann

Summer, 1962 -- Gallery Group of Contemporary Americans

Sept., 1962 -- 19th & 20th Century American Artists

Oct., 1962 -- Gallery Group of Contemporary Americans

Oct. 30-Nov. 17, 1962 -- Stephen Etnier

Nov. 21-Dec. 8, 1962 -- Pleissner Recent Paintings

Dec., 1962 -- Group Exhibition

Jan. 22-Feb. 9, 1963 -- Paul Sample Recent Paintings

Feb. 11-March 2, 1963 -- Group of Contemporary Americans

March 5-23, 1963 -- Gouaches by John Taylor

March 26-April 13, 1963 -- Fletcher Martin Recent Paintings

April-May, 1963 -- Gallery Group-Contemporary Americans

Oct. 8-26, 1963 -- David Shapiro Recent Work

Oct. 30-Nov. 16, 1963 -- Xavier Gonzalez Recent Watercolors

Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod

April, 1964 -- Watercolors and Pastels

April 21-May 9, 1964 -- Grigory Gluckmann

May 13-29, 1964 -- Frank di Gioia Recent Paintings

Oct., 1964 -- Group Exhibition

Nov. 3-21, 1964 -- Stephen Etnier

Nov. 24-Dec. 12, 1964 -- Thomas Blagden

Jan., 1965 -- Comtemporary American Artists

Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley

Feb. 2-14, 1965 -- Exhibition by George Biddle

Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm

Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin

Feb. 16-28, 1965 -- Water Colors by Matilda Browne

Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn

March, 1965 -- 19th and 20th Century American Artists

March 1-13, 1965 -- Bruce Crane, N.A.

March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.

March 23-April 10, 1965 -- Paintings by Dan Lutz

March 28-April 16, 1965 -- Paintings by Henry Golden Dearth

April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.

April 13-May 1, 1965 -- Paintings by Louis Bosa

April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim

May, 1965 -- Gallery Contemporaries

Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.

Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin

Nov. 2-14, 1965 -- Paintings by Ann Crane

Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.

Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne

Nov. 16-Dec. 4, 1965 -- Electra Bostwick

Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia

Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965

Jan.-Feb., 1966 -- 19th and 20th Century American Artists

Feb.-March, 1966 -- Group Exhibition

June, 1966 -- Group Exhibition

Oct. 11-29, 1966 -- Thomas Blagden

Nov. 1-19, 1966 -- Stephen Etnier

Nov. 22-Dec. 10, 1966 -- Pleissner

Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez

April, 1967 -- Group Exhibition

April 18-May 6, 1967 -- Grigory Gluckmann

July, 1967 -- Group Exhibition

undated -- Etchings and Color-Etchings

undated -- Etchings of China and Cambodia by Lucille Douglass

undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.

undated -- Paintings by Ossip L. Linde

undated -- Etchings by William Meyerowitz

undated -- Recent Screens and Panels by Roy Mac Nicol

undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

undated -- Paintings by Clement

undated -- Important Works in Paintings and Sculpture by Leading American Artists

Jan. 3-14, undated -- Armin Hansen

Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz

Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century

Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams

Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.

Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams

Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge

Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers

Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen

Jan. 30-Feb. 11, undated -- Sigrud Skou

Feb. 13-25, undated -- Water Colors by Alice Judson

Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.

Feb. 13-March 11, undated -- Paintings by H.T. Keasbey

Feb. 15-March 5, undated -- Frederic James

Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood

Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow

Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman

Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff

March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin

March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth

March 7-26, undated -- Sigurd Skou

March 8-20, undated -- Paintings by Sigurd Skou

March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings

March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen

March 26-April 12, undated -- Paintings by E. Martin Hennings

March 26-April 14, undated -- Recent Etchings by Elias M. Grossman

March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa

April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer

April 7-19, undated -- Figure Paintings by Louis Ritman

April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps

April 12-24, undated -- Paintings of American Gardens by Abbott Graves

April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)

April 19-May 1, undated -- Paintings by Valentino Molina

April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.

April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist

April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon

April 24-May 5, undated -- Paintings by Thalia Millett

April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn

April 26-May 15, undated -- William H. Singer

April 27-May 16, undated -- Recent Paintings by Gluckmann

May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors

May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden

Oct. 11-23, undated -- Paintings by Anna Heyward Taylor

Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson

Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy

Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.

Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job

Oct. 31-Nov. 14, undated -- Drawings by James Wilkie

Nov. 5-17, undated -- Paintings of Venice

Nov. 15-27, undated* -- Water Colors by Childe Hassam

Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty

Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield

Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley

Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok

Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.

Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell

Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber

Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon

Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky

Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce

Nov. 26-Dec. 5, undated -- Alfred Hutty

Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou

Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes

Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size

Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters

Dec. 6-30, undated -- Selected Paintings for the Home by American Artists

Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard

Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home

Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition

Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot

Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists

Provenance:

Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.

Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.

Restrictions:

The collection is open for research. Patrons must use microfilm copy.

Rights:

The Milch Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters  Search this

Topic:

Gallery owners  Search this

Art -- Collectors and collecting  Search this

Art, American  Search this

Art galleries, Commercial -- New York (State) -- New York  Search this

Art dealers -- New York (State) -- New York  Search this

Genre/Form:

Gallery records

Photographs

Citation:

Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.milcgall

See more items in:

Milch Gallery records

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-milcgall

Interviewee:

Scholder, Fritz W., 1937-2005  Search this

Interviewer:

Karlstrom, Paul J  Search this

Subject:

Green, Robert B.  Search this

Thiebaud, Wayne  Search this

Horowitch, Elaine  Search this

Baskin, Leonard  Search this

Martin, Agnes  Search this

Price, Vincent  Search this

Lauren, Ralph  Search this

Loloma, Charles  Search this

O'Keeffe, Georgia  Search this

Howe, Oscar  Search this

Type:

Sound recordings

Interviews

Topic:

Painters -- Arizona -- Scottsdale -- Interviews  Search this

Sculptors -- Arizona -- Scottsdale -- Interviews  Search this

Painters -- Southwest, New -- Interviews  Search this

Sculptors -- Southwest, New -- Interviews  Search this

Indians of North America -- Southwest, New -- Art  Search this

Record number:

(DSI-AAA_CollID)11647

(DSI-AAA_SIRISBib)215842

AAA_collcode_schold95

Theme:

Native American

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_215842

Creator:

Lisle, Laurie  Search this

Names:

Nevelson, Louise, 1899-1988  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Extent:

3.4 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Date:

1902-1990

Summary:

The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The collection consists of copied biographical papers, recordings, correspondence, and printed material related to O'Keeffe, and 97 recorded interviews related to the life of Louise Nevelson. The outcome of Lisle's research on O'Keeffe resulted in her book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980); and on Nevelson, Lisle authored, Louise Nevelson: A Passionate Life (1990).

Scope and Contents:

The Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson measures 3.4 linear feet and dates from 1902-1990. The O'Keeffe portion of the collection consists of biographical papers, recordings, correspondence, and printed material. Biographical material includes academic records, maps and ephemera regarding O'Keeffe's various residences, and legal records concerning law suits and her will. The correspondents in this series include artists, gallery representatives and collectors, and exhibition organizers. Printed material consists of newspaper clippings, magazines, and exhibition announcements for both her and her husband, Alfred Stieglitz. Also included in the printed material is a file pertaining to Laurie Lisle's book, Portrait of an Artist: A Biography of Georgia O'Keeffe (1980).

The research material on Louise Nevelson consists of 97 audiocassettes featuring interviews with Louise Nevelson, some members of the Nevelson family, artists, dealers, and peers. The recordings were gathered in preparation for Lisles biography on Nevelson, Louise Nevelson: A Passionate Life (1990).

Arrangement:

Collection is arranged as two series.

Series 1: Research Files on Georgia O'Keeffe, 1902-1990 (1 linear foot; box 1)

Series 2: Interviews of and Related to Louise Nevelson, 1975-1988 (2.4 Linear feet; shoeboxes 2-7)

Biographical / Historical:

Louise Lisle is an art historian and author in Sharon, Connecticut. Lisle is originally from Providence, Rhode Island and attended college at Ohio Wesleyan University. After college she held positions at The Providence Journal and Newsweek magazine. She has published five books covering the topics of art history, education, sociology, and her own life. Lisle is married to painter and printmaker Robert Kipniss.

Georgia O'Keeffe (1887-1986) was born in Sun Prairie, Wisconson in 1887. She was an artist who is mostly known for painting flowers, New York Skyscrapers, and New Mexico landscapes. O'Keeffe began high school at Sacred Heart Academy in Madison, Wisconsin, but ultimately graduated from Chatham Episcopal Institute in Virginia after her family moved to Williamsburg, Virginia in 1902. O'Keeffe went on to study at the School of Art Institute of Chicago, Art Students League, Teachers College of Columbia University, and taught art at high schools in Texas and at Chatham Episcopal Insitute, Columbia College, and became the chair of the art department at West Texas State Normal College. O'Keeffe's art was ultimately promoted by Alfred Stieglitz who, although eventually marrying O'Keeffe in 1924, first exhibited her artwork at his esteemed 291 gallery in New York City. O'Keeffe's fame as an artist took off from there. O'Keeffe was a member of the American Academy of Arts and Letters; she received the Presidential Medal of Freedom in 1977 and the National Medal of Arts in 1985; and in 1993 was inducted into the National Women's Hall of Fame.

Louise Nevelson (1899-1988) was born in Kiev, Russia in 1899. Her parents, Isaac and Minna Berliawsky, and their children emigrated to America in 1905 and settled in Rockland, Maine. She decided upon a career in art at an early age and took some drawing classes in high school, before graduating in 1918. Two years later, she married Charles Nevelson, a wealthy businessman, and moved to New York. She proceeded to study painting, drawing, singing, acting, and eventually dancing. In 1922, Nevelson gave birth to a son, Myron (later called Mike). Beginning in 1929, Nevelson began to study art full-time at the Art Students League, where she took classes with Kenneth Hayes Miller and Kimon Nicolaides. In 1931, she went to Europe and studied with Hans Hofmann in Munich before traveling to Italy and France. Over the years, she received honorary degrees from Rutgers University and Harvard University, among other schools, as well as numerous awards, including the Brandeis University Creative Arts Award in Sculpture and the Skowhegan Medal for Sculpture in 1971, the gold medal for sculpture from the American Academy of Arts and Letters in 1983, and the National Medal of the Arts in 1985.

Related Materials:

The Archives of American Art also houses the Louise Nevelson papers, circa 1903-1979.

Provenance:

This collection was donated by Laurie Lisle in two separate installments. The material on Georgia O'Keeffe was donated in 1991, and the material on Louise Nevelson was donated in 2004.

Restrictions:

The Georgia O'Keeffe portion of this collection is open for research. Access to original papers requires an appointment, and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Archives of American Art makes its archival collections available for non-commercial educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's reponsibility 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 -- Connecticut  Search this

Authors -- Connnecticut  Search this

Topic:

Women artists  Search this

Sound recordings  Search this

Genre/Form:

Interviews

Citation:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson, 1902-1990. Archives of American Art, Smithsonian Institution.

Sponsor:

The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.

Identifier:

AAA.lisllaur

See more items in:

Laurie Lisle research material on Georgia O'Keeffe and Louise Nevelson

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-lisllaur

Interviewee:

Scholder, Fritz, 1937-2005  Search this

Interviewer:

Karlstrom, Paul J.  Search this

Names:

Baskin, Leonard, 1922-2000  Search this

Green, Robert B.  Search this

Horowitch, Elaine  Search this

Howe, Oscar, 1915-1983  Search this

Lauren, Ralph  Search this

Loloma, Charles, 1921-  Search this

Martin, Agnes, 1912-2004  Search this

O'Keeffe, Georgia , 1887-1986  Search this

Price, Vincent, 1911-1993  Search this

Thiebaud, Wayne  Search this

Extent:

100 Pages (Transcript)

Type:

Collection descriptions

Archival materials

Pages

Sound recordings

Interviews

Date:

1995 March 3-30

Scope and Contents:

An interview of Fritz Scholder conducted 1995 March 3-30, by Paul Karlstrom, for the Archives of American Art.

Scholder discusses his family background and growing up in parallel worlds of Anglo and Indian cultures and the frustration of western versus tribal life; his education in Lawrence, Kan. and the University of Wisconsin; moving to California; his father's job as head of Indian relocation; studying at the Indian art program at the University of Arizona, Arizona State University, and the Indian Art Institute in Santa Fe, N.M.; his views on Indians in general and the difficulty of operating in the mainstream art world; his travels and search for adventure in Europe and Egypt; the importance of magic and the occult in his work; myths as a basis for human experience; art as an agent of social change; objections of Indian groups to his work; and his experience as an Indian role model while not part of the movement. He recalls Robert B. Green, Wayne Thiebaud, Ralph Lauren, Vincent Price, Georgia O'Keeffe, Charles Loloma, Agnes Martin, Elaine Horowitch, and Leonard Baskin.

Biographical / Historical:

Fritz Scholder (1937-2005) was a painter and sculptor from Scottsdale, Ariz.

General:

Originally recorded on 7 sound cassettes. Reformatted in 2010 as 12 digital wav files. Duration is 6 hr., 11 min.

Provenance:

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

Restrictions:

Transcript available on the Archives of American Art website.

Topic:

Painters -- Arizona -- Scottsdale -- Interviews  Search this

Sculptors -- Arizona -- Scottsdale -- Interviews  Search this

Painters -- Southwest, New -- Interviews  Search this

Sculptors -- Southwest, New -- Interviews  Search this

Indians of North America -- Southwest, New -- Art  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.schold95

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-schold95

Creator:

Tobey, Mark  Search this

Names:

Willard Gallery  Search this

Ashton, Dore  Search this

Dahl, Arthur L., 1942-  Search this

Elmhirst, Dorothy Payne Whitney Straight  Search this

Feininger, Lyonel, 1871-1956  Search this

Hallsten, Pehr, d. 1965  Search this

Hauberg, Anne Gould  Search this

Hauberg, John H. (John Henry), 1916-  Search this

Hillman, Kay  Search this

Holty, Carl, 1900-1973  Search this

Leach, Bernard, 1887-1979  Search this

Ritter, Mark  Search this

Rivera, Diego, 1886-1957  Search this

Seliger, Charles, 1926-2009  Search this

Willard, Marian, 1904-  Search this

Extent:

11 Microfilm reels

Type:

Collection descriptions

Archival materials

Microfilm reels

Date:

[ca. 1920]-1977

Scope and Contents:

Biographical material; correspondence; financial records; Baha'i material; music; writings; art works; printed material; and photographs.

Biographical material includes diaries with sporadic entries, undated and 1958-1959; address books; membership cards, and honorary titles. Correspondents include Stephen Andrus, Dore Ashton, Arthur G. Barnett, John and Betty Bowen, Adelyn Breeskin, Cliffa Carson (niece), Thomas A. Chew, Lillian Clark, Paul Cummings, Arthur Dahl, Shoghi B. Effendi, Dorothy Elmhirst, Claire Falkenstein, Lyonel Feininger, Janet Flanner, John Ford,Miriam Gabo, Colin Graham, Pehr Hallsten, Pamela Harkins, Nina Harwood, John and Anne Hauberg, Kay Hillman, Joseph Hirshhorn, David Hofman, Carl Holty, Herbert Hoover, Leroy and Silvia Ioas, Berthe P. and Claire Jacobson, Nina Kandinsky, Helen Kendall, Carolyn Kizer, Katharine Kuh,Rene Lauby, Bernard Leach, Gerald Lieberman, Andre Masson, Marjory Masten, George Mathieu, N. Richard Miller, Joan Miro, Axel Mondell, Alfred Neumeyer, Ben Nicholson, Vincent Price, Mark Ritter, Diego Rivera, Nancy W. Ross, John Russell, Henry Seldis, Charles Seliger, Otto Seligman, Art Smith, James Speyer, Michel Tapie, Miriam Terry, Roland Terry, Juliet Thompson, Kenneth Tyler, Charmion Von Wiegand, Heloise Wardall, Ulfert Wilke, and Marian Willard of the Willard Gallery.

Also found are: notes taken while studying French; financial, legal and medical records; material relating to Baha'i, including credential for Tobey for the Baha'i World Congress, 1963, class notes, photographs, prayer books, and printed material; music, including sheet music by Tobey, recital program, and music by Harold Budd, John Sundsten,and Debussey; writings and poetry by Tobey and Dahl; writings on Tobey; a transcript of an interview of Tobey conducted by William Seitz; sketches and sketchbooks by Tobey and by others, including Bernard Leach; printed material on Tobey, including reproductions of work, exhibition catalogs and announcements, magazine articles, and clippings; and printed material on others, including Hallsten, Leach, Seliger, Feininger, Abraham Walkowitz, Alberto Burri, and Jules Pascin.

Also included are photographs of: Tobey, Tobey with family and friends, exhibition installations, works of art, an album containing photos, sketches and notes, ca. 1920-1950, an album of photos of Tobey's Seattle studio taken after his death by Kenneth Tomlinson, 1976, and miscellaneous photographs.

Biographical / Historical:

Painter; Abstract Expressionist. Also worked as fashion illustrator, portrait painter. Born in Wisconsin, December 11, 1892. Died 1976. Worked in Chicago, Seattle, Basel, Switzerland; New York, N.Y., Dartington Hall, Devonshire, England, and Paris. Convert to Baha'i religion.

Provenance:

Lent for microfilming 1984 by the Seattle Art Museum.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Occupation:

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

Topic:

Painting, Modern -- 20th century -- History  Search this

Bahai Faith  Search this

Identifier:

AAA.tobemark2

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-tobemark2

Creator:

Enters, Angna, 1907-  Search this

Extent:

15 Items ((on partial microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1943-1967

bulk 1958-1967 dates

Scope and Contents:

Seven Christmas cards made by Angna Enters, 1958 and 1959, 1961, 1963-1965, and 1967, consisting of a different watercolor self-portrait for each of the years represented; and printed material concerning Enters career in the theater, particularly reviews of mime performances.

Biographical / Historical:

Dancer, mime, actress, painter, designer, and writer; New York, N.Y. Born New York, N.Y., raised Milwaukee, Wisconsin. Year of birth commonly given as 1907; however Enters graduated from high school in 1915 as Anita Irene Enters.

Provenance:

The known donor, Mr. Francis Robinson, received the Christmas cards of 1963 and 1964 from Enters.

Restrictions:

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

Occupation:

Watercolorists  Search this

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

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

Performance artists -- New York (State) -- New York  Search this

Topic:

Women artists -- New York (State) -- New York  Search this

Identifier:

AAA.enteangn

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-enteangn

Creator:

Koehler, Robert, 1850-1917  Search this

Extent:

36 Items ((on 1 microfilm reel))

Type:

Collection descriptions

Archival materials

Date:

1888-1927

bulk 1888-1890 dates

Scope and Contents:

Thirty-four letters (1888-1890) pertain to the Milwaukee Industrial Exposition Association's attempt to raise funds to purchase Koehler's painting "The Strike" for the Layton Art Gallery in Milwaukee. At the time, the painting was on exhibit in the American section of the Exposition Universelle of 1889 in Paris and the letters reflect Koehler's efforts to persuade the officials to permit the painting's removal from the exhibition. One letter (1916) written by George E. Vincent of the University of Minnesota, confirms Koehler's appointment as a lecturer on art history. One letter (1927) written by Marie Koehler to Karl W. Jones, explains why she is sending her husband's correspondence to Mr. Jones.

Biographical / Historical:

Robert Koehler was born in Hamburg, Germany, in 1850 and settled with his family in Milwaukee, Wisconsin in 1854. He learned the trade of lithography which he practiced in Milwaukee, Pittsburgh, and New York City. He studied painting for two years in Munich, Germany, until lack of funds forced him to return in 1875 to New York where he continued his studies at the National Academy and the Art Students League. In 1879 Koehler returned to Munich where he taught art and organized the American department of 2 international art exhibitions, held in 1883 and 1888. His most famous work "The Strike" (1886) was based on industrial conflicts in Pittsburgh. He returned to New York in 1892 and served as director of the Minnesota School of Fine Arts from 1893 to 1914. He died Apr. 24, 1917.

Provenance:

The letters were donated to the Minnesota Historical Society by Helen Jones in 1957. Mrs. Jones is the wife of Karl W. Jones, a former student of Koehler. The microfilm was purchased from the Minnesota Historical Society.

Restrictions:

The Archives of American art does not own the original papers. Use is limited to the microfilm copy.

Rights:

Authorization to publish, quote or reproduce must be obtained from the Division of Library and Archives, Minnesota Historical Society.

Occupation:

Painters  Search this

Identifier:

AAA.koehrobe

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-koehrobe

Creator:

Curry, John Steuart, 1897-1946  Search this

Names:

Curry, Kathleen, 1899-  Search this

Extent:

10.1 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Date:

1848-1999

Summary:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Scope and Content Note:

The papers of painter, muralist, and illustrator John Steuart Curry, and Curry family papers, measure 10.1 linear feet and date from 1848 to 1999. Papers document his career and family history through certificates, correspondence, photographs, clippings, contracts, receipts, inventories, writings, notes, and other materials. The papers contain particularly rich documentation of Curry's period as artist-in-residence at the University of Wisconsin, from 1936 to 1946. Mural projects in Kansas, Washington, DC, and Wisconsin are also documented.

Biographical Materials include chronologies, biographical narratives, genealogical notes, certificates and awards, and other ephemera related to Curry and his family. Family Correspondence includes the earliest records created by Curry himself, including letters home from art school and from the East Coast during his early career.

Correspondence and Project files document mural projects, appearances, gallery relationships, and other activities from the early 1930s until his death in 1946 with correspondence, photographs, clippings, contracts, writings, and other miscellany. Subject files include pictorial reference and research files created by Curry for subjects depicted in his murals and paintings. Curry's writings include essays, lectures, interviews, and notes related to his technical and philosophical approach to art, as well as notes from his various travels, and essays by others about Curry. Personal Business Records contain records of artwork, business transactions, and personal finances.

Print Materials include print copies of published artwork by Curry, including magazine illustrations from Curry's early career. Extensive clippings, exhibition catalogs, and a scrapbook created by Curry as a youth are also found. Photographs depict Curry throughout his life in formal portraits, candid snapshots, and publicity photographs, with a significant number of photographs depicting Curry creating and posing with his artwork. The Artwork series contains a few sketches by Curry and seven canvases used for testing art materials. Additional sketches are found in Subject Files and scrapbooks.

Estate Papers contain materials dated after Curry's death in 1946 and mainly document the activities of Kathleen Curry in managing her husband's estate from 1946 until her death in 2001. Estate papers contain writings about Curry, correspondence, inventories of artwork, and alphabetical files documenting sales, exhibitions, and other projects.

Arrangement:

The collection is arranged into ten series:

Series 1: Biographical Materials, 1911-1993 (Box 1; 0.2 linear feet)

Series 2: Family Correspondence, 1916-1946 (Box 1; 0.2 linear feet)

Series 3: Correspondence and Project Files, 1928-1946 (Boxes 1-3, OV 11; 2.3 linear feet)

Series 4: Subject Files, 1848-1946 (Boxes 3-4, OV 11-12; 0.7 linear feet)

Series 5: Notes and Writings, circa 1911-1946 (Box 4; 0.3 linear feet)

Series 6: Personal Business Records, 1916-1952 (Box 4, OV 13; 0.3 linear feet)

Series 7: Print Materials, 1918-1985 (Boxes 4-5, 10; OV 12-13; 1.6 linear feet)

Series 8: Photographs, circa 1900-1998 (Boxes 5-6, OV 14; 1.1 linear feet)

Series 9: Artwork, 1941, undated (Box 7, OV 12, 14, 15; 0.2 linear feet)

Series 10: Estate Papers, circa 1946-1999 (Boxes 7-9 and rolled document; 2.3 linear feet)

Biographical Note:

Painter, muralist, and illustrator John Steuart Curry is considered one of the three important painters of the American Regionalist movement, along with Thomas Hart Benton of Missouri and Grant Wood of Iowa. Curry was born in north-eastern Kansas in 1897, and grew up on his family's farm. Curry left high school to attend the Kansas City Art Institute briefly, and then studied at the Art Institute of Chicago in 1916 with Edward J. Timmons and John Norton. Curry later spent a year in Paris studying with Basil Schoukhaieff in 1926 and 1927.

Curry began his career as a freelance illustrator in Leonia, New Jersey, under the influence of Harvey Dunn. Curry's illustrations were widely published in illustrated magazines such as Boy's Life, Country Gentleman, and Saturday Evening Post in the early 1920s. He married Clara Derrick in 1923 and lived in Greenwich Village, and then Westport, Connecticut, from 1924 to 1936. Derrick died in 1932, and in 1934 Curry married Kathleen Gould.

Curry's career shifted from illustration to painting during the 1920s and 1930s, bolstered by success in exhibitions and sales. Exhibits included the National Academy of Design (1924), the Corcoran Gallery (1927-1928), a solo exhibition at the Whitney Studio Club (1930), and the Carnegie International Exhibition (1933). Early sales include Baptism in Kansas, purchased by the Whitney in 1930, and Spring Shower, purchased by the Metropolitan Museum in 1932. Curry taught at Cooper Union (1932-1934) and the Art Student's League (1932-1934), and painted his first murals in Westport under the Federal Art Project in 1934.

In 1936, he was appointed artist-in-residence at the University of Wisconsin College of Agriculture as part of a rural art program developed by rural sociologist John Burton. The purpose of his residency was to serve as an educational resource for rural people of the state. Curry stayed in this position until his death in 1946, carrying out the program's mission through lectures and visits with dozens of art and civic groups around the state, and by making himself available to rural artists through correspondence and guidance in his studio. He also helped to organize annual rural art exhibitions for UW's Farm and Home Week beginning in 1940. In return for his work, he was given a salary and a studio on campus and the freedom to execute his own work as he chose.

Under the Federal Art Program's Section of Painting and Sculpture, Curry completed two murals in the Justice Department building in Washington in 1936, Westward Migration and Justice Defeating Mob Violence, and two murals in the Department of the Interior building in 1938, The Homestead and The Oklahoma Land Rush. A design that was rejected by the government for the Justice building, a mural entitled Freeing of the Slaves, was later executed at the University of Wisconsin in their law library. From 1938 to 1940, Curry worked on murals for the state house rotunda in Topeka, Kansas admist a stormy, public controversy over his dramatic depiction of Kansas history. The legislature effectively blocked Curry's completion of the project through a formal resolution not to remove marble that was blocking areas that were part of Curry's design. Infuriated, Curry left the unfinished murals unsigned, and later derided the state frequently for the treatment he received. The Kansas State legislature issued a formal apology and appreciation of the completed murals in the 1990s.

Despite the lack of appreciation of his home state, Curry did receive recognition elsewhere during his lifetime as an artist of national importance. He continued to paint and exhibit in the art centers of the East Coast. In 1941, he won the Gold Medal Award at the Pennsylvania Academy of the Fine Arts exhibition, and in the 1942 Artists For Victory exhibition, he won the top prize for Wisconsin Landscape. Curry's book illustrations were in high demand, and he contributed to books such as My Friend Flicka, editions of Lincoln's and Emerson's writings, and Wisconsin writer August Derleth's The Wisconsin. A biography of Curry written by Laurence Schmeckebier was published in 1942.

Curry died in 1946 of heart failure. A retrospective that had been planned for the living artist opened less than a month after his death at the Milwaukee Art Institute. His wife, Kathleen Curry, maintained his estate until her death, in 2001, at the age of 102. Additional retrospective exhibitions were held at Syracuse University in 1956 and in the Kansas State Capitol in 1970. In 1998, the exhibition "John Steuart Curry: Inventing the Middle West" was organized at the University of Wisconsin and traveled to the M.H. de Young Memorial Museum and the Nelson Atkins Museum of Art.

Related Material:

The Archives of American Art holds an oral history interview with Kathleen Curry regarding John Steuart Curry conducted in 1990 and 1992.

Separated Material:

The Archives of American Art also holds microfilm of material lent for microfilming (reels 164-168 and 4574-4576) including 98 sketchbooks, 1919-1942; a ledger, 1938-1946, of expenses with four loose letters to John Steuart Curry in Italian and Spanish; a notebook, 1932-1938, titled "Account and records of works, etc."; a journal, undated, of drafts of poems, and approximately 50 sketches. Loaned materials were returned to the lender some of which were subsequently donated to the Worcester Museum of Art in Worcester, Massachusetts. This material is not described in the collection container inventory.

John Steuart Curry memorabilia received with the Kathleen Curry's donation in 1979 (baby cup, baby dress, overalls, medals, paint box, watercolor box, 2 photographs) were transferred to the Spencer Museum of Art in 1985.

Provenance:

John Steuart Curry's widow, Kathleen Curry, lent materials on reels 164-168 for microfilming in 1971. In 1979, she subsequently donated portions of the material lent, along with additional items, some of which were transferred to Spencer Museum of Art. In 1972, Mildred Curry Fike, John Steuart Curry's sister, gave material and R. Eugene Curry, a brother, donated more material in 1975 and 1993. Ellen Schuster, John Steuart Curry's daughter, donated the home movies in 1973 and Daniel Schuster, John Steuart Curry's son-in-law, gave additional papers in 1991 in 1992, 1995, and 1999. In 1992, 1999 and 2000, additions were received from Kathleen Curry that may contain material previously filmed as a loan on reels 164-168.

Restrictions:

The bulk of the collection has been digitized and is available online via AAA's website. Access to undigitized portions requires an appointment.

Rights:

The John Steuart Curry papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters -- Wisconsin  Search this

Topic:

Art -- Study and teaching  Search this

Art -- Technique  Search this

Works of art  Search this

Regionalism in art  Search this

Muralists -- Wisconsin  Search this

Illustrators -- Wisconsin  Search this

Genre/Form:

Scrapbooks

Video recordings

Photographs

Sketches

Interviews

Citation:

John Steuart Curry and Curry family papers, 1900-1999. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art

Identifier:

AAA.currjohn

See more items in:

John Steuart Curry and Curry family papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-currjohn

Creator:

Cox, Allyn, 1896-1982  Search this

Names:

American Battle Monuments Commission  Search this

Art Commission of the City of New York  Search this

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

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

Cosmos Club (Washington, D.C.)  Search this

Dumbarton Oaks  Search this

George Washington Masonic National Memorial (Alexandria, Va.)  Search this

National Society of Mural Painters (New York, N.Y.)  Search this

Park Club of Kalamazoo  Search this

Smithsonian Institution  Search this

United States Capitol Historical Society  Search this

Bayley, John Barrington, 1914-1981  Search this

Bishop, Warner  Search this

Cassio, Fabrizio  Search this

Conrad, Arthur  Search this

Cox, Ethel  Search this

Cox, Kenyon, 1856-1919  Search this

Cox, Louise Howland King, 1865-1945  Search this

DeWitt, Roscoe, 1894-1975  Search this

Frost, Stuart  Search this

Harbeson, John F., 1888-1986 ((John Frederick))  Search this

Keally, Francis, 1889-1978  Search this

Keller, Deane, 1901-1992  Search this

Lamb, Adrian  Search this

Laning, Edward, 1906-1981  Search this

Lay, Charles Downing, 1877-1956  Search this

MacDonald, Pirie, 1867-1942  Search this

Schwengel, Fred, 1907-1993  Search this

Shutze, Philip Trammell  Search this

Young, Clifford, 1905-  Search this

Extent:

11 Linear feet

Type:

Collection descriptions

Archival materials

Interviews

Diaries

Photographs

Sketchbooks

Sketches

Place:

General Grant National Memorial (New York, N.Y.)

Date:

1856-1982

Summary:

The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Scope and Contents:

The papers of New York, N.Y., and Washington, D.C. painter and muralist Allyn Cox measure 11 linear feet and date from 1856-1982. The collection documents Cox's personal and professional life through biographical material, family and general correspondence, writings and notes, research material, printed material, sketchbooks and loose sketches, and photographs. Photographs are of Cox at work, the Cox family, including Kenyon and Louise Cox, Cox's friends and colleagues, events, and Cox's artwork.

Biographical material includes family birth, death, and marriage certificates, and passports for Cox and his wife Ethel, whom he married in 1927; professional membership cards, awards and certificates; records related to sales of furnishings from the Cox family home in Essex, Massachusetts; and an untranscribed interview of Cox by Tony Janak of NBC TV.

Cox's family correspondence is primarily with his mother, Louise Cox. Also found is correspondence with Cox's sister, Caroline Cox Lansing, and his brother Leonard Cox and Leonard's wife, Sylvia, and letters from Ethel Cox to her mother. Additional correspondence relating to the disposition of Kenyon Cox''s artwork and archives to various institutions, can also be found here.

General correspondence documents Cox's career and professional relationships with artists and architects, including John Barrington Bayley, Fabrizio Cassio, Arthur Conrad, Roscoe DeWitt, Stuart Frost, John Harbeson, Francis Keally, Adrian Lamb, Edward Laning, Charles Downing Lay, Deane Keller, Philip Trammell Shutze, and Cliff Young; art institutions and organizations including the Art Commission of the City of New York, the Art Students League, Dumbarton Oaks, the National Society of Mural Painters, and the Smithsonian Institution; federal, state and local government agencies including the American Battle Monuments Commission, the Architect of the Capitol, and the General Grant National Memorial; members of Congress including founder of the United States Capitol Historical Society, Representative Fred Schwengel; and private social clubs in which Cox was active, including the Century Association, the Cosmopolitan Club and the Cosmos Club. Correspondence documents Cox's most well known commissions including work for the George Washington Masonic National Memorial and the United States Capitol, as well as work for many private clients including banks and residences.

Also found are typescripts, manuscripts and notes for Cox's lectures, as well as Ethel Cox's diary from 1923-1936 and her diary excerpt from 1955. Ten folders of research files, consisting primarily of clippings, comprise Cox's source material. Additional printed material provides scattered documentation of Cox's career through announcements and catalogs, and magazine and newspaper articles written by him or about his work. Also found is one folder of clippings about Kenyon Cox.

Four sketchbooks and circa twenty-two loose animal, figure, architectural and landscape sketches comprise Cox's artwork, in addition to two 1943 sketches Cox entered into a War Department mural competition. Also found is an 1873 sketchbook of Kenyon Cox, with sketches of people and scenes in Ohio.

Photographs are of Cox from childhood to the 1980s; his family, including parents, siblings, and grandparents; friends including Philip Trammell Shutze and Warner Bishop; family residences; artist models; events; and artwork, including many of Cox's commissions. In addition to photographic prints, slides, and negatives, the series includes vintage formats such as an ambrotype, 8 tintypes, 2 cyanotypes, and a platinum print. Of particular note are circa 16 photos of Kenyon Cox, one taken by Pirie MacDonald and three of him teaching a class at the Art Students League, and a series of circa 1906 photos taken in a garden, of Louise and Kenyon Cox with their children and others. Also found are 10 glass plate negatives of artwork by Cox.

Arrangement:

The collection is arranged as 7 series. Glass plate negatives are housed separately and are closed to researchers.

Series 1: Biographical Material, 1916-1982 (0.33 linear feet; Boxes 1, 12)

Series 2: Correspondence, 1878-1982 (6.74 linear feet; Boxes 1-7, 12)

Series 3: Writings and Notes, 1919-1982 (0.58 linear feet; Boxes 7-8)

Series 4: Research Files, circa 1950s-circa 1970s (0.25 linear feet; Box 8)

Series 5: Printed Material, 1920s-1982 (0.5 linear feet; Boxes 8-9)

Series 6: Sketchbooks and Sketches, 1873-circa 1978 (0.25 linear feet; Box 9, OVs 13-14)

Series 7: Photographs, 1856-circa 1980 (2.25 linear feet; Boxes 9-12, OV 13)

Biographical / Historical:

New York, N.Y. and Washington, D.C. painter and muralist, Allyn Cox (1896-1982), was born in New York City to artists Kenyon and Louise Cox. Cox first trained as his father's assistant, serving as an apprentice to Kenyon Cox during the painting of the murals at the Wisconsin State Capitol, circa 1912. He attended the National Academy of Design from 1910-1915, and the Art Student's League with George Bridgman in 1915. In 1916 he was awarded the Prix de Rome and subsequently studied at the American Academy in Rome for 2 years before returning to New York City to begin a career in mural painting.

Cox completed numerous murals and decorative paintings for private residences, businesses, churches, and public buildings. Some of his most famous commissions included murals for the Royal Arch Room and Memorial Hall of the George Washington Masonic National Memorial in Alexandria, Virginia; the Law School at the University of Virginia, Charlottesville; and the William A. Clark Memorial Library at the University of California, Los Angeles; panels for the National City Bank, the Continental Bank, and the Guaranty Trust Company in New York; and glass mosaics and inlaid stone maps for the United States Military Cemetery in Hamm, Luxembourg.

Cox is best known for his work in the United States Capitol, beginning in 1952 when he undertook a congressional commission to restore and complete the murals in in the Capitol rotunda begun by Constantino Brumidi and Filipo Costaggini in 1878. Over the course of the next two decades Cox, now residing in Washington, D.C., restored the Frieze of American History and the Apotheosis of Washington in the Rotunda, and designed murals for three first-floor corridors in the Capitol's House wing, now known as the Cox Corridors. Assisted by Cliff Young, Cox completed painting for two of these corridors before his death. In 1958 Cox also painted a portrait of Henry Clay for the Senate Reception Room and in 1975 completed a mural depicting the 1969 moon landing in the Brumidi Corridor.

Cox taught at the Art Students League in 1940 and 1941, and was active in professional organizations throughout his career. He served as President of the American Artists Professional League and the National Society of Mural Painters, and Vice President of both the Fine Arts Federation and the New York Architectural League. He was a member of the board of the New York Municipal Art Society and served on the the New York City Art Commission.

Cox retired in March 1982 at the age of 86 and died the following September.

Related Materials:

Also found in the Archives of American Art are the Allyn Cox papers relating to U.S. Capitol murals, 1970-1974, donated by the Committee on House Administration, via Cindy Szady in 1981. Papers include a resume; a cost estimate by Cox for designing and executing mural decorations in the U.S. Capitol, 1970; a letter, 1974, from the Office of the Architect of the Capitol to the Capitol Historical Society enclosing photocopies of printed material pertinent to the unveiling and dedication of the Capitol rotunda frieze in 1954; miscellaneous printed material, 1971-1974; and 15 photographs of the murals in the Capitol.

Provenance:

The bulk of the Allyn Cox papers was donated in 1977 and 1983 by the Estate of Allyn Cox, Stephen M. Pulsifer, Exectuor, including material that had been loaned for microfiliming in 1969. Two mural sketches were donated by the Essex County Greenbelt Association in 1984.

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. Glass plate negatives are housed separately and are closed to researchers,

Use of archival audiovisual recordings with no duplicate access copy requires advance notice.

Rights:

The Allyn Cox papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters -- Washington (D.C.)  Search this

Topic:

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

Muralists -- Washington (D.C.)  Search this

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

Genre/Form:

Interviews

Diaries

Photographs

Sketchbooks

Sketches

Citation:

Allyn Cox papers, 1856-1982. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.coxally

See more items in:

Allyn Cox papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-coxally

Creator:

Volk, Leonard Wells, 1828-1895  Search this

Volk, Douglas , 1856-1935  Search this

Names:

Chicago Academy of Design  Search this

Ecole nationale supérieure des beaux-arts (France)  Search this

Sabatos Industries  Search this

Adler, Felix, 1851-1933  Search this

Albert, King of the Belgians, I, 1875-1934 -- Photographs  Search this

Benson, Eugene, 1837-1908  Search this

Bridge, Marion Volk  Search this

Brush, George de Forest, 1855-1941  Search this

Chase, William Merritt, 1849-1916 -- Photographs  Search this

Chubb, Percival, 1860-1960  Search this

Daingerfield, Elliott, 1859-1932  Search this

Douglas, Stephen Arnold, 1813-1861  Search this

Gilbert, Cass, 1859-1934  Search this

Gérôme, Jean Léon, 1824-1904  Search this

Hale, Philip Leslie, 1865-1931 -- Photographs  Search this

Lincoln, Abraham, 1809-1865  Search this

Lloyd George, David, 1863-1945  Search this

Pershing, John J. (John Joseph), 1860-1948 -- Photographs  Search this

Volk, Gerome  Search this

Volk, Marion Larrabee, 1859-1925  Search this

Volk, Wendell  Search this

Weir, Julian Alden, 1852-1919  Search this

von Rydingsvaard, Karl  Search this

Extent:

12.4 Linear feet

Type:

Collection descriptions

Archival materials

Scrapbooks

Diaries

Sketchbooks

Paintings

Photographs

Sketches

Place:

Sculptors -- Maine

Date:

circa 1858-1965

2008

bulk 1870-1935

Summary:

The papers of painter and teacher Douglas Volk (1856-1935) and his father, sculptor Leonard Wells Volk (1828-1895), measure 12.4 linear feet and date from circa 1858-1965, 2008, with the bulk of the material dating from circa 1870-1935. Douglas Volk's papers document his life and career through biographical material, family and professional correspondence, writings and notes, diaries and journals, financial records, printed material, scrapbooks, artwork and sketchbooks, and photographs of the artist, his family, friends, and artwork. The papers also provide documentation of the formation and operations of the Sabatos Handicraft Society established with Marion Volk from the Volk's summer home, Hewnoaks, in Center Lovell, Maine. Scattered documentation of the life and work of Leonard Wells Volk, is found in biographical material, land records, letters, memoirs, and photographs.

Scope and Contents:

The papers of painter and teacher Douglas Volk (1856-1935) and his father, sculptor Leonard Wells Volk (1828-1895), measure 12.4 linear feet and date from circa 1858-1965, 2008, with the bulk of the material dating from circa 1870-1935. Douglas Volk's papers document his life and career through biographical material, family and professional correspondence, writings and notes, diaries and journals, financial records, printed material, scrapbooks, artwork and sketchbooks, and photographs of the artist, his family, friends, and artwork. The papers also provide documentation of the formation and operations of the Sabatos Handicraft Society established with Marion Volk from the Volk's summer home, Hewnoaks, in Center Lovell, Maine. Scattered documentation of the life and work of Leonard Wells Volk, is found in biographical material, land records, letters, memoirs, and photographs.

Douglas Volk's papers form the bulk of the collection and document all stages of his life from his first visits to Europe during his teenage years, until his death. Biographical material includes address books, biographical notes, genealogical records of Volk's family, and a warranty deed for land purchased by Marion Volk in Center Lovell, Maine, in 1904.

Family correspondence is primarily between Douglas and Marion throughout their courtship and marriage, but also includes letters from other family members including daughter Marion Volk Bridge and sons Wendell and Gerome Volk. General correspondence is with colleagues, art galleries, societies, institutions and museums, schools and colleges, government agencies, and others. Also found are letters from artists including George de Forest Brush, Elliott Daingerfield, Cass Gilbert, Philip Leslie Hale, Swedish woodcarver Karl von Rydingsvard, and J. Alden Weir; and friends Felix Adler and Percival Chubb.

Douglas Volk's writings and notes are on art, art instruction for children, and the significance and influence of his father's work, particularly Leonard Volk's Lincoln life mask, and include drafts of his monograph "Art Instruction in Public Schools."

Diaries and journals record details of Volk's early art education in Europe, including his friendships with Eugene Benson and George de Forest Brush and others, his time spent studying under Jean-Léon Gérôme at the École des Beaux Arts, his appointment by the National Art Committee to paint portraits of World War I era politicians and military figures, and his Lincoln portrait painted just prior to Volk's death.

Financial records document day-to-day routine expense, as well as sales of artwork and other art-related transactions.

Printed material and a scrapbook of clippings and letters include press coverage of Douglas Volk's career from the early 1900s to 1918. An additional scrapbook provides documentation of the Sabatos Handicraft Society, including a copy of one of only three known editions of the society's publication The Fire Fly. Artwork includes sketches, two small oil paintings, and fifteen sketchbooks of Douglas Volk.

Photographs include portraits taken at various stages of Volk's career, family photographs, photographs of the main house at Hewnoaks and additional buildings, photographs of several artists including William Merritt Chase and Karl von Rydinsgsvard, photographs of world leaders including David Lloyd George, King Albert of Belgium, and General John J. Pershing, and photographs of artwork.

The papers of Leonard Wells Volk include seven volumes of his hand-written memoirs which document his relationship with Stephen A. Douglas, his first meeting with Lincoln, and his involvement with the Chicago Academy of Design. Also found are three letters including one written to Douglas Volk in 1887, and a memorandum related to the value of Leonard Wells Volk's Lincoln and Douglas statues at the Illinois State House. Photographs include three of Leonard Wells Volk, photographs of other family members including his wife Emily, photos of houses and woodland scenes, and photos of artwork.

Arrangement:

The collection is arranged as 2 series.

Series 1: Douglas Volk Papers, circa 1870-1965, 2008 (11.85 linear feet; Boxes 1-12, 15-16, OVs 13-14)

Series 2: Leonard Wells Volk Papers, circa 1858-circa 1930 (0.45 linear feet; Boxes 11-12)

Biographical / Historical:

Chicago sculptor Leonard Wells Volk (1828-1895) created one of only two life masks of Abraham Lincoln. His son, painter and teacher Douglas Volk (1856-1935), was known for his figure and portrait paintings. Douglas Volk and his wife Marion Larrabee Volk established the Sabatos Handicraft Society, producing homespun woolen rugs and textiles from their summer home in Center Lovell, Maine.

Leonard Wells Volk was raised in New York State and Massachusetts, before moving to St. Louis to learn modeling and drawing. Around 1852 he married Emily Clarissa King Barlow, a cousin of Senator Stephen A. Douglas. Douglas took an interest in Volk's career and helped finance his trip to Rome and Florence between 1855 and 1857, where Volk studied art. On returning from Europe Volk settled in Chicago, opening a studio there and establishing himself as a leader in art circles and a founder of the Chicago Academy of Design. He served as president of the Academy (later the School of the Art Institute of Chicago) for eight years. Volk recorded his first meeting with Lincoln during the 1858 Lincoln-Douglas debates, and the subsequent 1860 sittings with Lincoln for the life mask, hands, and bust, in his memoirs. The mask served as a model for many sculptors who made later portraits of Lincoln. Volk's other important works include the Rock Island County Soldier's Monument in Rochester, New York (1869), statues of Lincoln and Douglas for the Illinois Statehouse (1876), a bust of Douglas, and the Douglas Tomb monument (1881) in Chicago.

Douglas Volk was born in Pittsfield, Massachusetts in 1856. His artistic education began in his teens when he traveled to Europe with his family. In the early 1870s he lived in Rome and Venice, spending time with his friends George de Forest Brush and J. Alden Weir. He moved to Paris in 1873 where he studied at the École des Beaux Arts with Jean-Léon Gérôme, and exhibited his first picture, In Brittany, at the 1875 Paris Salon.

In 1879 Volk returned to the United States and accepted a teaching position at Cooper Union. He was elected to the Society of American Artists in 1880 and married Marion Larrabee in 1881. In 1883 Volk became a founder of the Minneapolis Society of Fine Arts and was appointed the first president of the subsequent Minneapolis School of Fine Arts in 1886, a position he held until 1893. During his time in Minneapolis, Volk purchased a summer studio and retreat in Osceola, Wisconsin, and he and Marion had four children: Leonard (1882-1891), Wendell (1884-1953), Marion (1888-1973) and Gerome (1890-1959). In 1893 Volk returned to New York and accepted a position at the Art Students League, where he taught from 1893-1898, and also resumed his post at Cooper Union. He became interested in innovative ways to teach art and art history to children, and in 1895 the National Academy of Design printed his essay "A Plea for Art in the Public Schools," in its annual exhibition catalog. He was elected an associate of the Academy in 1898, becoming a full academician in 1899.

In 1898, looking to provide the family with a summer retreat, Marion Volk purchased property with a friend in Center Lovell, Maine, an area already enjoyed by the couple's friends, George de Forest Brush and Percival Chubb. The property was divided in 1901 and Marion added to her half creating a lot of approximately twenty-five acres. The Volks renovated the house, which they named Hewnoaks, and eventually built four more cottages and a studio for Douglas Volk on the property. During this period Marion Volk was working with handwoven wool on traditional area looms using fruit and vegetable hand-dyes and designs based on motifs from Native American art. In 1902 the Volks held the founding meeting of the Sabatos Handicraft Society at Hewnoaks, and the property became the hub of a Center Lovell community effort to produce rugs, textiles, and other handicrafts using traditional methods. Daughter Marion worked with her mother, and son Wendell, a printmaker and woodcaver, operated the Hewn Beam Press, printing pamphlets and a newsletter entitled the Fire Fly: A Periodical of Fearless Endeavour. Swedish-born wood carver Karl von Rydingsvard offered classes on wood carving at Hewnoaks, assisted by Wendell Volk.

Douglas Volk worked to make the Hewnoaks handicraft movement a success, but focused primarily on his own painting. The Maine woods provided endless inspiration and the setting for many of his paintings and murals, which primarily depicted romanticized historical subjects in Colonial America and reflected his traditional academic training. One of his best known works, The Boy with the Arrow (1903), a portrait of his son Leonard "Leo" Volk who died at the age of eight, is now in the collection of the Smithsonian American Art Museum.

Volk taught at the National Academy of Design from 1910-1917. He served as recording secretary and then on the council for the organization from 1910-1919. His acclaimed intimate portraits of friends and acquaintances, including Felix Adler (1914) and William Macbeth (1917), were painted during this period. In 1919 Volk was one of a group of artists commissioned by the National Art Committee to paint major figures from World War I. He subsequently painted portraits of King Albert of Belgium, British Prime Minister David Lloyd George, and General John J. Pershing, and recorded his meetings and sittings with the three men in his journals.

For the last fifteen years of his life Volk, using his father's life mask, painted a series of portraits of Abraham Lincoln, one of which hangs in the Lincoln Bedroom at The White House.

At least fifteen years prior to her death in 1925, Marion Volk's involvement in handicrafts at Hewnoaks declined, while Douglas Volk continued to focus on his own work. Wendell Volk's career in civil engineering took precedence over his interest in weaving and woodcarving and both he and his brother Gerome moved West in 1909. Following Douglas Volk's death in Fryeburg, Maine in 1935, Wendell Volk and his wife Jessie, also an artist, ultimately took possession of Hewnoaks. Wendell died in 1953, but the property was eventually bequeathed by Jessie Volk to the University of Maine and now operates as an artist colony.

Separated Materials:

Volumes 1, 3, 6-7, 9, and 10 of Leonard Volk's memoirs form part of the Alfred Whital Stern Collection of Lincolniana in the Library of Congress.

The Archives of American Art also holds material lent for microfilming (reel 4280) including correspondence of Leonard Volk and photographs of his artwork. Lent materials were returned to the lender and are not described in the collection container inventory.

Provenance:

The George Arents Research Library, Syracuse University in Syracuse, New York first lent material for microfilming in 1989. Most of the material was then donated in 2004–2005 by Jessie J. Volk, the daughter-in-law of Douglas Volk, who also bequeathed the Volk estate including additional Volk papers to the University of Maine. In 2006, University officials arranged for an auction of much of the property of the estate including the remaining family papers. The Volk Family estate auction was conducted by Cyr Auction Co., in Gray, Maine, on July 19, 2006. Several individuals purchased parts of the papers at that auction and subsequently donated them to the Archives. Those donors are: David Wright, who acquired the 1875 journal and Brush letters and donated them to the Archives in 2006; Dr. Christine Isabelle Oaklander, who purchased the account book, 1873–1875, and donated it to the Archives in honor of Judith Ellen Throm in 2007, and also donated additional letters and a photograph in 2008; and Mary K. and John F. McGuigan Jr., who purchased correspondence (1120 letters), speeches, lectures, articles, checks, check stubs and miscellaneous items and donated them to the Archives in 2015. In 2007, the University of Maine Foundation via Amos Orcutt donated the 1934 journal and 60 photographs.

John F. McGuigan Jr. and Mary K. McGuigan have purchased and donated additional archival materials to the Archives, including the Mary K. McGuigan and John F. McGuigan Jr. artists' letters collection, and 69 letters now among the Sylvester Rosa Koehler papers.

In 2007, the University of Maine Foundation via Amos Orcutt donated the 1934 journal and 60 photographs that were part of the Volk Family estate, but not included in the June 19, 2006 auction.

In 2019 Dr. Christine Isabelle Oaklander donated additional material purchased at auction, primarily photographs and some printed material.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.

Rights:

The Douglas Volk and Leonard Wells Volk papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters -- Maine  Search this

Art teachers -- New York (State) -- New York  Search this

Topic:

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

Sculptors -- Illinois -- Chicago  Search this

Art -- Study and teaching  Search this

World War, 1914-1918  Search this

Genre/Form:

Scrapbooks

Diaries

Sketchbooks

Paintings

Photographs

Sketches

Citation:

Douglas Volk and Leonard Wells Volk papers, circa 1858-1965, 2008, bulk circa 1870-1935. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.

Identifier:

AAA.volkleon

See more items in:

Douglas Volk and Leonard Wells Volk papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-volkleon

Creator:

Gugler, Eric, 1889-1974  Search this

Names:

Cornell, Katharine, 1893-1974  Search this

Gugler, Frida  Search this

Manship, Paul, 1885-1966  Search this

Roosevelt, Eleanor, 1884-1962  Search this

Extent:

34.4 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Date:

1889-1977

Summary:

The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Scope and Contents:

The papers of architect and painter Eric Gugler measure 34.4 linear feet and date from 1889-1977. Found within the papers are biographical materials, including papers relating to the Gugler family, personal and business correspondence, writings, project files for commercial and residential commissions, personal business records, photographic materials, including 180 glass plate slides, and artwork.

Biographical materials include certificates, official documents, curriculum vitae, and histories of the Gugler family. Correspondence consists of professional letters regarding prospective and active projects, and personal correspondence from friends and family, including Eleanor Roosevelt, Katherine Cornell, and Paul Manship. Writings include book proposal drafts, essays, notes, speeches, and writings by others.

Project files consist of correspondence, architectural sketches, blueprints, and photographic and printed materials related to Gugler's work on commercial, residential, governmental, and memorial commissions. Renderings of specific design objects, sculptures, and Gugler's collaborative work on preservation efforts are also included.

Personal business records include correspondence related to Gugler's firm, including office leases, prospective client lists, and service fees. Printed material consists of clippings, exhibition material, postcards, and other miscellaneous items.

Photographic materials are of Eric Gugler and members of the Gugler family. Artwork includes sketches, watercolors, paintings, photographs of artwork, and artwork by Frida Gugler.

Arrangement:

The collection is arranged as 8 series. Glass plate slides are housed separately and closed to researchers, but listed where they fall intellectually within the collection.

Series 1: Biographical Material, 1898-1975 (0.5 linear feet; Box 1, OV 33)

Series 2: Correspondence, 1906-1974 (4 linear feet; Boxes 1-5, 20, OV 33)

Series 3: Writings, 1932-1973 (16 folders; Box 5)

Series 4: Project Files, 1889-1977 (28.2 linear feet; Boxes 5-18, 20-24, 70-72, OV 25-31, OV 33-49, RD 50-69)

Series 5: Personal Business Records, 1928-1972 (0.3 linear feet; Box 18)

Series 6: Printed Material, 1923-1977 (0.3 linear feet; Boxes 19, 24)

Series 7: Photographic Materials, 1890-1966 (9 folders; Box 19)

Series 8: Artwork, 1895-1970 (0.4 linear feet; Box 19, OV 32)

Biographical / Historical:

Architect and painter Eric Gugler (1889-1974) lived and worked in New York City, New York. Known for his work on monuments and memorials, Gugler was selected by President Roosevelt to head the redesign and building of the White House's West Wing in 1934.

Born in Milwaukee, Wisconsin to lithographer Julius Gugler and his wife, Bertha Bremer, Gugler attended Columbia University and received a three year scholarship to continue his studies at the American Academy in Rome. In 1919, he opened his architectural firm on Park Avenue in New York City and began accepting residential and commercial commissions. In addition to designing buildings and houses for clients, Gugler also completed smaller design objects for ceiling details, sculptures, murals, and decorative structures. In the late 1920s and early 1930s, his firm won commissions to complete World War I Memorials in New York and Chicago, Illinois, and also received a major commission to design the Educational Building in Harrisburg, Pennsylvania. Around this time, Gugler married Broadway actress and dancer Anne Tonetti and designed a second residence in the artist's community of Sneden's Landing, New York.

Gugler's interest and willingness to work on large scale memorials and institutional buildings aided in his appointment to a number of prominent commissions in the 1930s to the 1950s. These include the design of the White House's West Wing and the Sicily-Rome American Cemetery and Memorial in Italy, new construction and renovations to the Forman School (Conn.) and Wabash College (Ind.), and the building of residential houses for Katherine Cornell, Barry Faukner, and Paul Manship. In the 1960s, he was selected to head memorial designs for the Franklin Delano Roosevelt and Theodore Roosevelt Memorials in Washington, D.C., and also spent considerable time and energy developing the "Hall of Our History" project. Gugler remained active designing and working on projects until his death in 1974.

Related Materials:

The White House Historical Association's Office of the Curator holds additional Eric Gugler Papers related to the expansion and redesign of the West Wing in 1934.

Provenance:

The papers were donated in 1977 by Gugler's wife, Anne Tonetti Gugler. Additional materials were donated between 1979 and 1980 by Gugler's business associate, Ferdinand Eiseman.

Restrictions:

Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Rights:

The Eric Gugler papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Architects as artists -- New York (State) -- New York  Search this

Topic:

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

Architecture -- Designs and plans  Search this

Architecture, Modern -- 20th century  Search this

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

Genre/Form:

Sketches

Watercolors

Glass plate negatives

Paintings

Photographs

Blueprints

Citation:

Eric Gugler papers, 1889-1977. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.gugleric

See more items in:

Eric Gugler papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-gugleric

Creator:

Alexander, John White, 1856-1915  Search this

Names:

MacDowell Club of New York  Search this

Abbey, Edwin Austin, 1852-1911  Search this

Alexander, Elizabeth A., d. 1947  Search this

Carnegie, Andrew, 1835-1919  Search this

Chase, William Merritt, 1849-1916  Search this

Gibson, Charles Dana, 1867-1944  Search this

James McNeill Whistler, 1834-1903  Search this

James, Henry, 1843-1916  Search this

La Farge, John, 1835-1910  Search this

Levy, Florence N. (Florence Nightingale), 1870-1947  Search this

Millet, Francis Davis, 1846-1912  Search this

Remington, Frederic, 1861-1909  Search this

Stevenson, Robert Louis, 1850-1894  Search this

Extent:

11.9 Linear feet

Type:

Collection descriptions

Archival materials

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Date:

1775-1968

bulk 1870-1915

Summary:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Scope and Contents:

The papers of the painter, muralist, and illustrator John White Alexander measure 11.9 linear feet and date from 1775 to 1968, with the bulk of materials dating from 1870 to 1915. Papers document Alexander's artistic career and many connections to figures in the art world through biographical documentation, correspondence (some illustrated), writings, 14 sketchbooks, additonal artwork and loose sketches, scrapbooks, photographs, awards and medals, artifacts, and other records. Also found is a souvenir engraving of a Mark Twain self-portrait.

Biographical Information includes multiple essays related to Alexander, his family, and others in his circle. Also found is an extensive oral history of Alexander's wife Elizabeth conducted in 1928. Correspondence includes letters written by Alexander to his family from New York and Europe at the start of his career, and later letters from fellow artists, art world leaders, and portrait sitters of Alexander's. Significant correspondents include Charles Dana Gibson, Florence Levy, Frederick Remington, Robert Louis Stevenson, Henry James, John La Farge, Francis Davis Millet, and Andrew Carnegie. Correspondence includes some small sketches as enclosures and illustrated letters.

Certificates and records related to Alexander's career are found in Associations and Memberships, Legal and Financial Records, and Notes and Writings, which contain documentation of Alexander's paintings and exhibitions. Scattered documentation of Alexander's memberships in various arts association exists for the American Academy of Arts and Letters, the American Academy in Rome, the National Academy of Design, the Onteora Club in New York, the Royal Academy of Fine Arts in Munich, Germany, the Ministère de L'Instruction Publique et des Beaux-Arts, the Union Internationale des Beaux Arts et des Lettres, and the Metropolitan Museum of Art. Notes and Writings include speeches written by Alexander, short stories and essays written by his wife, and articles by various authors about Alexander. Extensive documentation of the planning and construction of the Alexander Memorial Studio by the MacDowell Club is found, along with other awards, medals, and memorial resolutions adopted by arts organizations after Alexander's death.

Artwork includes fourteen sketchbooks with sketches related to Alexander's commercial illustration and cartooning, murals, paintings, and travels. Dozens of loose drawings and sketches are also found, along with two volumes and several dozen loose reproductions of artwork, among which are found fine prints by named printmakers. Many sketches are also interspersed throughout the correspondence. Eight Scrapbooks contain mostly clippings, but also scattered letters, exhbition catalogs, announcements, invitations, and photographs related to Alexander's career between 1877 and 1915. Additional Exhibition Catalogs and later clippings, as well as clippings related to the career of his wife and other subjects, are found in Printed Materials.

Photographs include many portraits of Alexander taken by accomplished photographers such as Zaida Ben-Yusuf, Aimé Dupont, Curtis Bell, Elizabeth Buehrmann, and several signed Miss Huggins, who may have been Estelle Huntington Huggins, a New York painter and photographer. Portraits of others include Alexander's friends William Merritt Chase and Edward Austin Abbey. Also found are photographs of groups, juries, family, friends, and studios in New York, Paris, and New Jersey, and a handful of scenic photographs of Polling, Bavaria, where Alexander had an early studio. A large number of photographs of works of art are found, many with annotations. Among the photographs of murals are a small collection of snapshots of the Carnegie Institute murals in progress. Miscellaneous artifacts include a palette, several printing plates, and an inscribed souvenir engraving of a self-portrait caricature of Mark Twain.

Arrangement:

The collection is arranged into 11 series. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Information, circa 1887-1968 (Box 1, OV 23; 0.1 linear feet)

Series 2: Correspondence, circa 1870-1942 (Box 1; 0.7 linear feet)

Series 3: Associations and Memberships, circa 1897-1918 (Box 1; 2 folders)

Series 4: Legal and Financial Records, 1775, 1896-1923 (Box 1; 5 folders)

Series 5: Notes and Writings, circa 1875-1943 (Boxes 1-2; 0.3 linear feet)

Series 6: Awards and Memorials, circa 1870-1944 (Box 2, OV 24; 0.8 linear feet)

Series 7: Artwork, circa 1875-1915 (Boxes 2-3, 6, 14-16, OV 23; 1.5 linear feet)

Series 8: Scrapbooks, circa 1877-1915 (Boxes 17-22; 1.8 linear feet)

Series 9: Printed Materials, circa 1891-1945 (Boxes 3-4, OV 23; 1.5 linear feet)

Series 10: Photographs, circa 1870-1915 (Boxes 4-8, MGP 1-2, OV 25-43, RD 44-45; 4.2 linear feet)

Series 11: Artifacts, circa 1899-1915 (Box 6, artifact cabinet; 0.4 linear feet)

Biographical / Historical:

John White Alexander was born in 1856 in Allegheny City, Pennsylvania. He was orphaned at age five and taken in by relatives of limited means. When Alexander left school and began working at a telegraph company, the company's vice-president, former civil war Colonel Edward Jay Allen, took an interest in his welfare. Allen became his legal guardian, brought him into the Allen household, and saw that he finished Pittsburgh High School. At eighteen, he moved to New York City and was hired by Harper and Brothers as an office boy in the art department. He was soon promoted to apprentice illustrator under staff artists such as Edwin A. Abbey and Charles Reinhart. During his time at Harpers, Alexander was sent out on assignment to illustrate events such as the Philadelphia Centennial celebration in 1876 and the Pittsburgh Railroad Strike in 1877, which erupted in violence.

Alexander carefully saved money from his illustration work and traveled to Europe in 1877 for further art training. He first enrolled in the Royal Art Academy of Munich, Germany, but soon moved to the village of Polling, where a colony of American artists was at its peak in the late 1870s. Alexander established a painting studio there and stayed for about a year. Despite his absence from the Munich Academy, he won the medal of the drawing class for 1878, the first of many honors. While in Polling, he became acquainted with J. Frank Currier, Frank Duveneck, William Merritt Chase, and other regular visitors to the colony. He later shared a studio and taught a painting class in Florence with Duveneck and traveled to Venice, where he met James Abbott McNeill Whistler.

Alexander returned to New York in 1881 and resumed his commercial artwork for Harpers and Century. Harpers sent him down the Mississippi river to complete a series of sketches. He also began to receive commissions for portraits, and in the 1880s painted Charles Dewitt Bridgman, a daughter of one of the Harper brothers, Parke Godwin, Thurlow Weed, Walt Whitman, and Oliver Wendell Holmes. Alexander met his wife Elizabeth, whose maiden name was also Alexander, through her father, James W. Alexander, who was sometimes mistaken for the artist. Elizabeth and John White Alexander married in 1887 and had a son, James, in 1888.

Alexander and his family sailed for France in 1890, where they became a part of the lively literary and artistic scene in Paris at the time. Among their many contacts there were Puvis de Chavannes, Auguste Rodin, and Whistler, who arrived in Paris shortly thereafter. Alexander absorbed the new aesthetic ideas around him such as those of the symbolists and the decorative style of art nouveau. Critics often note how such ideas are reflected in his boldly composed paintings of women from this period, who titles drew attention to the sensual and natural elements of the paintings. His first exhibition in Paris was three paintings at the Société Nationale des Beaux Arts in 1893, and by 1895 he has become a full member of the Société.

Independent and secession artist societies emerged throughout Europe during this period, and Alexander exhibited with several of them, including the Société Nouvelle in Paris, the Munich Secession, and the Vienna Secession. He was also elected an honorary member of the Royal Society of Belgian Artists and the Royal Society of British Painters in London. His exhibited works sold well, and his influence began to be felt back in the United States. Andrew Carnegie and John Beatty of the Carnegie Institute consulted closely with Alexander in the planning and execution of the first Carnegie International Exhibitions. Alexander also became active in supporting younger American artists who wanted to exhibit in Europe, a stance which resulted in his resignation from the Society of American Artists in Paris, which he felt had become a barrier to younger artists. His promotion of American art became an central aspect of his career for the remainder of his life, most visibly through his presidency of the National Academy of Design from 1909 until shortly before his death in 1915. He also served frequently on juries for high-profile exhibitions, and was a trustee at the Metropolitan Museum of Art, the New York Public Library, and the national Institute of Arts and Letters. Around 1912, he helped to form the School Art League in New York, which provided art instruction to high school students.

Alexander returned to the United States nearly every summer while based in Paris, and among his commissioned paintings were murals for the newly-constructed Library of Congress, completed around 1896. In 1901, the Alexanders returned to New York permanently. The demand for portraits continued, and he had his first solo exhibition at the Durand-Ruel Galleries in 1902. Around 1905 he received a commission for murals at the new Carnegie Institute building in Pittsburgh for the astounding sum of $175,000. He created 48 panels there through 1908. During this period, the Alexanders spent summers in Onteora, New York, where Alexander painted his well-known "Sunlight" paintings. There they became friends and collaborators with the actress Maude Adams, with Alexander designing lighting and stage sets, and Elizabeth Alexander designing costumes for Adams' productions such as Peter Pan, the Maid of Orleans, and Chanticleer. The couple became known for their "theatricals" or tableaux, staged at the MacDowell Club and elsewhere, and Elizabeth Alexander continued her design career when her husband died in 1915.

Alexander left several commissions unfinished upon his death at age 59, including murals in Wisconsin, Ohio, and Harrisburg, Pennsylvania. Elizabeth Alexander held a memorial exhibition at Arden Galleries a few months after his death, and a larger memorial exhibition was held by the Carnegie Institute in 1916. Alexander won dozens of awards for artwork in his lifetime, including the Lippincott Prize at the Pennsylvania Academy of the Fine Arts in 1899, the Gold Medal of Honor at the Paris Exposition Universelle in 1900, the Gold Medal at the Panama Pacific Exposition of 1901, and the Medal of the First Class at the Carnegie Institute International Exhibition in 1911. In 1923, the Alexander Memorial Studio was built at the MacDowell colony in New Hampshire to honor his memory.

Provenance:

Papers were donated in 1978 and 1981 by Irina Reed, Alexander's granddaughter and in 2017 by Elizabeth Reed, Alexander's great grandaughter.

Restrictions:

Use of the original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.

Rights:

The John White Alexander papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

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

Portrait painters -- New York (State) -- New York  Search this

Works of art  Search this

Portrait painting -- 20th century  Search this

Portrait painting -- 19th century  Search this

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

Portrait painting, American  Search this

Genre/Form:

Awards

Interviews

Photographs

Sketchbooks

Scrapbooks

Medals

Citation:

John White Alexander papers, 1775-1968, bulk 1870-1915. Archives of American Art, Smithsonian Institution.

Sponsor:

Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.

Identifier:

AAA.alexjohn

See more items in:

John White Alexander papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-alexjohn

Creator:

Hemphill, Herbert Waide  Search this

Names:

Abby Aldrich Rockefeller Folk Art Center  Search this

Centennial Exhibition (1876 : Philadelphia, Pa.)  Search this

Exposition Universelle de Paris (1878 : Paris, France)  Search this

Folk Art Society of America  Search this

Museum of International Folk Art (N.M.)  Search this

National Museum of American Art (U.S.)  Search this

Aiken, Gayleen  Search this

Bogun, Maceptaw, Rev.  Search this

Borkowski, Mary  Search this

Brice, Bruce  Search this

Carpenter, Miles B. (Miles Burkholder), 1889-  Search this

Coins, Raymond  Search this

Crittenden, Varick A.  Search this

Dinsmoor, Samuel Perry, 1843-1932  Search this

Donovan, Carrie  Search this

Fancher, John W.  Search this

Finster, Howard, 1916-2001  Search this

Flanagan, Thos. J. (Thomas Jefferson), b. 1890  Search this

Fowler, Tim  Search this

Gatto, Victor Joseph, 1893-1965  Search this

Ghostley, Alice, 1926-2007  Search this

Goins, Vernon  Search this

Hall, Michael D., 1941-  Search this

Hamblett, Theora, 1895-1977  Search this

Hartigan, Lynda Roscoe  Search this

Harvey, Bessie, 1929-  Search this

Hawkins, William Lawrence, 1895-1990  Search this

Hicks, Tiny  Search this

Holley, Lonnie  Search this

Hunter, Clementine  Search this

James, A. Everette (Alton Everette), 1938-  Search this

Jennings, James Harold  Search this

Jones, S. L. (Shields Landon), 1901-  Search this

Jordan, John  Search this

Josephson, Nancy, 1955-  Search this

Klumpp, Gustave, 1902-1974  Search this

Lisk, Charles  Search this

Little, Roy  Search this

Lopez, George  Search this

Maldonado, Alexander Aramburo, 1901-1989  Search this

McCarthy, Justin, 1891-1977  Search this

Merrill, James Ingram  Search this

Morgan, Gertrude  Search this

Mr. Imagination, 1948-  Search this

Nathaniel, Inez  Search this

O'Kelley, Mattie Lou  Search this

Orth, Kevin, 1961-  Search this

Patterson, Clayton  Search this

Prince, Daniel C.  Search this

Prince, Neal A.  Search this

Robertson, Royal  Search this

Rowe, Nellie Mae, 1900-1982  Search this

Smith, Fred, 1886-1975  Search this

Smith, Robert E., 1926-  Search this

Smither, John  Search this

Smither, Stephanie  Search this

Spies, Jim  Search this

St. EOM, 1908-1986  Search this

Terrillion, Veronica  Search this

Tolliver, Mose, 1920-  Search this

Tolson, Edgar, 1904-1984  Search this

Walters, Hubert  Search this

Weissman, Julia  Search this

Young, Purvis, 1943-  Search this

Zeldis, Malcah  Search this

Extent:

26.7 Linear feet

Type:

Collection descriptions

Archival materials

Video recordings

Watercolors

Sketchbooks

Sound recordings

Photographs

Drawings

Poems

Reports

Prints

Interviews

Date:

1776-1998

bulk 1876-1998

Summary:

The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.

Scope and Content Note:

The papers of folk art collector and museum curator Herbert Waide Hemphill date from 1776-1998, bulk 1876-1998, and measure 26.7 linear feet. Found within the papers are biographical materials, personal business records, files documenting his collecting, writings, art work, minutes of meetings, a scrapbook, printed material including exhibition and auction announcements and catalogs, and miscellaneous artifacts. The collection also contains numerous photographs of Hemphill, family members, his residences, friends and colleagues, exhibitions, travel, and art work. Sound and video recordings include interviews of Hemphill.

Biographical material includes photocopies of Hemphill's birth certificate and passport, social security cards, and international health card, genealogical notes, an evaluation of his school work, membership cards, award certificates, address books, and an engagement calendar containing very brief annotations of his activities.

Correspondence documents Hemphill's affairs with miscellaneous museums and art institutions, discussing his presentation of lectures, exhibitions, and loans from his collection to organizations including the Abby Aldrich Rockefeller Folk Art Collection, the Folk Art Society of America, the Museum of International Folk Art, and the Smithsonian Institution's American Art Museum.

Hemphill's correspondence with friends and colleagues discuss collecting activities and pursuit of newly discovered folk art and artists. Many of the letters are from artists. Correspondents include Varick A. Crittenden, Michael D. Hall, A. Everette James, Daniel C. Prince, Neal A. Prince, and artists Rev. Maceptaw Bogun, Mary Borkowski, Tim Fowler, Joseph Victor Gatto, S. L. Jones, Gustav Klumpp, Roy Little, George Lopez, Kevin Orth, and Malcah Zeldis. There are also scattered letters from artists Miles Burkholder Carpenter, John W. Fancher, Rev. Howard Finster, William Hawkins, Sister Gertrude Morgan, Mr. Imagination, Mattie Lou O'Kelley, Clayton Patterson, St. EOM, and Mose Tolliver. One letter from Stephanie and John Smither is etched on a bone.

Personal business records include both legal and financial documents. There are wills for Hemphill, his mother, and for his friend Neal A. Prince. The records also include leases, insurance records, contracts, grant proposals, loan agreements, deeds of gift, price lists, consignment records, tax records, and miscellaneous receipts. Cancelled checks relate to Hemphill's collecting interests and activities, and include payments to artists for their work. There are court papers documenting a lawsuit by Hemphill's landlord who was attempting to evict him.

Art work consists of a sketchbook by Roy Little, a set of hand-cut Japanese mask designs, a collage of Polaroid photographs taped to glass created by Rev. Howard Finster, a hand-made book by Nancy Josephson, and miscellaneous drawings, watercolors, and prints by various artists including Justin McCarthy, Inez Nathaniel, and Nellie Mae Rowe.

Notes and writings include card files of artists, extensive bibliographic card files, and scattered notes on artists including Miles Carpenter, Raymond Coins, Rev. Howard Finster, Mattie Lou O'Kelley, Royal Robertson, Veronica Terrillion, Mose Tolliver, and Bill Traylor. Also found are lists of artists, patrons, and art work, miscellaneous notes, and minutes of meetings. Writings by Hemphill and others including Michael D. Hall, Lynda Roscoe Hartigan, A. Everett James, and Julia Weissman, consist of reports, typescripts, and poems concerning a wide range of art-related topics and travel.

A scrapbook consists of unbound pages of clippings and newsletters about Hemphill, his collection, and exhibitions of folk art.

There is extensive additional printed material illustrating Hemphill's many interests. This series primarily consists of clippings and exhibition announcements and catalogs for mainstream artists as well as folk artists. Also included are auction announcements and catalogs, announcements for festivals, press releases, and calendars of events. Numerous booklets, brochures, programs, menus, business cards, and novelty postcards concern a variety of topics including worldwide travel, the sale of art work, miscellaneous galleries, museums, organizations, conferences, schools, lectures, antiques and craft shops, films, publications, restaurants, household items, historical topics, and miscellaneous artists including Miles Carpenter, S. P. Dinsmoor, Lonnie Holley, Clementine Hunter, and Veronica Terrillion. There are also autographed copies of booklets The Black Swan and Other Poems by James Merrill, and The Blood of Jesus by Thomas Jefferson Flanagan. Novelty postcards range from photographs of Elvis Presley to cards with amusing captions or cartoon jokes. There is also sheet music by Charles Trenet. Miscellaneous printed material includes several eighteenth-century newspapers and a 1776 thirty shilling note from New Jersey.

Photographs are of Hemphill, family members, his residences, friends and colleagues including style editor Carrie Donovan, artist Rev. Howard Finster dancing at an exhibition opening, actress Alice Ghostley, Michael D. Hall, circus performers Vernon Goins and Tiny Hicks, Smithsonian curator Lynda Roscoe Hartigan, Neal A. Prince, and Jim Spies. Photographs of exhibitions include stereographic views of the International Exhibition in Philadelphia and the Exposition Universelle in Paris, and photographs of Hemphill's donation of his collection and its subsequent exhibition at the Smithsonian's American Art Museum. Travel photographs include views of South Dakota, Texas, the American West, Japan, Mexico, and The Netherlands.

Numerous photographs of art work sometimes include images of the artists with their work including Bruce Brice, Raymond Coins, John W. Fancher, Rev. Howard Finster, Theora Hamblett, Bessie Harvey, William Hawkins, James Harold Jennings, John Jordan, Charles Lisk, Alexander Maldonado, St. EOM, Fred Smith, Edgar Tolson, Hubert Walters, and Purvis Young. Some photographs of unattributed art work has been arranged by the state in which it is located and includes a Mardi Gras parade in Louisiana, a Mummer's parade in Pennsylvania, Lucy the Elephant-shaped building in New Jersey, and Holy Ghost Park in Wisconsin. Other photographs of unattributed art work include works on paper, paintings, sculpture, signs, collages, needlework, glass, ceramics, and architecture.

Sound and video recordings include a cassette from Hemphill's phone answering machine that contains only Hemphill's message to callers, cassette recordings of interviews with and concerning Hemphill, artist St. EOM, painter Robert E. Smith discussing his work, and the tour narration for a Smithsonian exhibition Made With Passion. There are videotapes about Hemphill and about artists Gayleen Aiken, Miller and Bryant, and Malcah Zeldis, and miscellaneous African American artists. There is also a videotape of an American Museum of Natural History tour group arriving in a succession of villages in Melanesia and Papua New Guinea where they are greeted by the native people and given the opportunity to purchase their art work.

Artifacts consist of a scattered assemblage of three-dimensional objects including three wooden "fringe" pieces from cigar store figures, ceramic fragments from a sword handle, a lock of horse hair, and a hand-painted View Master viewer souvenir from the opening of the American Visionary Art Museum in Baltimore. The View Master contains a disc of photographs of artists with their work including Vollis Simpson and Mary Frances Whitfield. Also included is a teacher's kit Little Adventures in Art containing four phonograph albums and four short film strips of slides showing art work in animal and bird forms.

Arrangement:

The collection is arranged as 10 series; all series are arranged chronologically:

Series 1: Biographical Material, 1916-1997 (Box 1, 28; 12 folders)

Series 2: Correspondence, 1901-1998 (Boxes 1-5, 27- 28, OV 31; 4.0 linear feet)

Series 3: Personal Business Records, 1817-1997 (Box 5-7, 28; 2.0 linear feet)

Series 4: Art Work, 1911-1997 (Box 7, 32; 0.4 linear feet)

Series 5: Notes and Writings, 1938-1996 (Box 7-10, 28; 2.5 linear feet)

Series 6: Scrapbook, 1965-1976 (Box 10; 1 folder)

Series 7: Printed Material, 1776-1998 (Box 10-19, 28-29, OV 31; 9.5 linear feet)

Series 8: Photographs, 1876-1997 (Box 19-24, 29; 5.5 linear feet)

Series 9: Sound and Video Recordings, 1986-1991 (Box 25-26; 13 folders)

Series 10: Artifacts, 1968-1995 (Box 26, 30; 0.7 linear feet)

Biographical Note:

Herbert Waide Hemphill, Jr., (1929-1998) lived in New York city and was a prominent curator, historian, and collector of American folk art. Hemphill was one of the founding members of the Museum of American Folk Art, organized several large exhibitions of folk art, and co-authored Twentieth Century American Folk Art and Artist.

Hemphill was born on January 21, 1929 in Atlantic City, New Jersey, the son of businessman Herbert Waide Hemphill, Sr., and Emma Bryan Bradley Hemphill whose uncle, William Clark Bradley, was one of the owners of the Coca-Cola Company.

Hemphill was reared in his mother's home town of Columbus, Georgia, and attended Wynnton School. At the Lawrenceville School in New Jersey and the Solebury School in New Hope, Pennsylvania, Hemphill's principle interests were in art and theater. In 1948, he spent a year studying fine arts at Bard College under Stefan Hirsch, a painter and folk art collector.

Hemphill developed his interest in collecting while accompanying his mother on her shopping forays searching for Dresden china. His first acquisition was a wooden duck decoy purchased when he was seven years old. His early collections were of glass bottles, marbles, stamps, and puzzle jugs. In 1949, Hemphill moved to Manhattan and began to focus on modern European and American art and African sculpture, but after 1956 he concentrated exclusively on 19th and early 20th century American folk art. He often discovered artists during his extensive travels, especially in the American South.

In 1961, Hemphill became one of the six founding trustees of the Museum of Early American Folk Art, later named the Museum of American Folk Art, in New York City. Between 1964 and 1973, he was the museum's first curator and curated many exhibitions, helping to promote awareness of work created by self-taught or visionary artists. He later served as Trustee Emeritus for many years.

Between 1974 and 1988, Hemphill loaned portions of his extensive personal collection to 24 museums nationwide and in 1976, the American Bicentennial Commission selected works from his collection for a goodwill tour of Japan. He was named guest curator at the Brooklyn Museum in 1976 and at the Abby Aldrich Folk Art Collection in 1980, and often appeared as guest lecturer at various universities, the Smithsonian Institution, and at the Library of Congress. In 1986, Hemphill donated more than 400 folk art works to the Smithsonian Institution's American Art Museum, resulting in a landmark exhibition Made with Passion: The Hemphill Folk Art Collection of the National Museum of American Art.

Hemphill's publications include books Twentieth Century American Folk Art and Artists, co-authored with Julia Weissman in 1974, Folk Sculpture USA for the Brooklyn Museum in 1976, and Found in New York's North Country: The Folk Art of a Region, co-authored with Varick A. Chittenden in 1982 for the Munson-Williams-Proctor Institute.

Herbert Waide Hemphill, Jr. died on May 8, 1998 in New York City.

Provenance:

Herbert Waide Hemphill donated his papers in 5 installments between 1988 and 1996.

Restrictions:

Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.

Rights:

The Herbert Waide Hemphill papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Topic:

Art -- Collectors and collecting  Search this

Folk art -- Collectors and collecting  Search this

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

Art -- Economic aspects  Search this

Genre/Form:

Video recordings

Watercolors

Sketchbooks

Sound recordings

Photographs

Drawings

Poems

Reports

Prints

Interviews

Citation:

Herbert Waide Hemphill papers, 1776-1998, bulk 1876-1998. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.hempherb

See more items in:

Herbert Waide Hemphill papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-hempherb

Creator:

Wolff, Theodore F.  Search this

Names:

Diebenkorn, Richard, 1922-1993  Search this

Donati, Enrico, 1909-2008  Search this

Hogue, Alexandre, 1898-  Search this

Johnston, Ynez, 1920-  Search this

Kohlmeyer, Ida, 1912-1997  Search this

Landeck, Armin, 1905-  Search this

Miller, Melissa  Search this

Natkin, Robert, 1930-  Search this

Stamos, Theodoros, 1922-1997  Search this

Tacha, Athena, 1936-  Search this

Turrell, James  Search this

Witkin, Jerome  Search this

Extent:

8 Linear feet

Type:

Collection descriptions

Archival materials

Sketches

Video recordings

Sound recordings

Photographs

Interviews

Date:

1920-2013

bulk 1977-2013

Summary:

The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small amount of artwork, and photographs.

Scope and Contents:

The papers of art critic, writer, and painter Theodore F. Wolff measure 8 linear feet and date from 1920-2013, with the bulk of the material dating from 1977-2013. The collection documents Wolff's career through biographical material, correspondence, interviews, writings, subject files, printed material, a small portion of artwork, and photographs.

Biographical material consists of biographical data, curriculum vitae, and awards. Included are outgoing and incoming letters that document Wolff's activities as an art critic, appraiser, and fine arts consultant. A large portion of his correspondence is with artists. Among the correspondents are Richard Diebenkorn, Alexander Hogue, Ynez Johnston, Armin Landeck, Melissa Miller, Robert Natkin, Theodoros Stamos, Athena Tachna, Jerome Witkin, and the writer Tom Wolfe. There is significant correspondence with Morris Graves, James Hubbell, Clyfford Still, and Stow Wengenroth relating to their work and Wolff's writings.

Interviews consist of three interviews with Theodore F. Wolff as well as a panel discussion with Wolff and other artists. Found are interviews with Enrico Donati and James Turrell. Recordings are on five sound cassettes and three videocassettes. Writings consist of Wolff's reviews, mostly tearsheets for The Christian Monitor and draft versions of a book. Also included are talks and lectures on art and art education recorded on seven videocassettes and six sound cassettes. Subject files document Wolff's professional interests and relate to his writing projects, exhibitions, talks, and presentations. Included are interviews with artists that were used by Theodore Wolff as source material.

Printed material includes Theodore F. Wolff's published critical writings on art, artists, and education. Included are exhibition catalogs, brochures, journals, and monographs. Artwork consists of seventeen sketches by Wolff done early in his career. Photographs are of Theodore F. Wolff and with friends and colleagues, many of them unidentified. Included are photographs of Wolff with Ida Kohlmeyer.

Arrangement:

The collection is arranged as 8 series.

Series 1: Biographical Material, 1982-2013 (Box 1; 0.1 linear feet)

Series 2: Correspondence, 1920, 1951-2011 (Box 1; 0.75 linear feet)

Series 3: Interviews, circa 1990-2002 (Box 2; 0.1 linear feet)

Series 4: Writings, Talks, and Lectures, circa 1977-2005 (Boxes 2-4; 2.8 linear feet)

Series 5: Subject Files, circa 1940, 1964-2004 (Boxes 4-6; 1.8 linear feet)

Series 6: Printed Material, 1956-2006 (Boxes 6-8; 2.2 linear feet)

Series 7: Artwork, 1942-1948 (Box 7, 1 folder)

Series 8: Photographs, circa 1980-circa 2011 (Box 7; 0.25 linear feet)

Biographical / Historical:

Theodore F. Wolff (1926-2012) was an art critic, writer, and painter in New York City.

Wolff attended the University of Wisconsin, earning a Bachelor of Arts degree in Art Education in 1949 and a Masters degree in Art and Art History the following year. By the early 1950s, Wolff was living in San Francisco, where he began his professional career as a painter. In 1956, he and his wife, Collette Wolff, moved to New York. During this period, Wolff also worked as an art appraiser and fine arts consultant for collectors, galleries, and museums. In 1977, Wolff began writing art criticism for The Christian Science Monitor and held the post of art critic at the publication until 1990. In addition to his art columns to The Monitor, Wolff contributed critical and introductory essays on artists for exhibition catalogs and journals. Theodore F. Wolff taught and lectured on art and art education at museums, universities, and conferences. In 1982, he received the National Headliners Award for Consistently Outstanding Column on Art and the Art World Award for Distinguished Newspaper Art Criticism in 1983. In 1990, Theodore Wolff retired from The Christian Science Monitor. He devoted the latter part of his career to painting, writing, lecturing, and teaching.

Theodore F. Wolff died in 2012 in New York City. He is survived by his wife, Collette Wolff.

Provenance:

A small amount of material was donated in 1999 by Theodore F. Wolff. Additional papers were donated in 2013 by Collette Wolff, widow of Theodore F. Wolff.

Restrictions:

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

Rights:

The Theodore F. Wolff papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Art critics -- New York (State) -- New York  Search this

Topic:

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

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

Art -- Study and teaching  Search this

Genre/Form:

Sketches

Video recordings

Sound recordings

Photographs

Interviews

Citation:

Theodore F. Wolff papers, 1920-2013, bulk 1977-2013. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.wolftheo

See more items in:

Theodore F. Wolff papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-wolftheo

Creator:

Fein, Sylvia  Search this

Names:

Glasier, Marshall, 1902-  Search this

Huppler, Dudley, 1917-1988  Search this

Priebe, Karl J., 1914-1976  Search this

Wilde, John, 1919-2006  Search this

Extent:

5.9 Linear feet

Type:

Collection descriptions

Archival materials

Photographs

Scrapbooks

Date:

1936-2011

Summary:

The papers of painter and author Sylvia Fein measure 5.9 linear feet and date from 1936 to 2011. The papers primarily document her friendships with other artists from the Wisconsin-based Magic Realist group, including Dudley Huppler, John Wilde, Marshall Glasier, and Karl Priebe, as well as her career as a painter and her work on the books Heidi's Horse and First Drawings: Genesis of Visual Thinking. Documentation consists of scattered biographical material, extensive correspondence, project files, writings by Huppler and others, printed material, photographs, artwork by Wilde and Glasier, and scrapbooks.

Scope and Content Note:

The papers of painter and author Sylvia Fein measure 5.9 linear feet and date from 1936 to 2011. The papers primarily document her friendships with other artists from the Wisconsin-based Magic Realist group, including Dudley Huppler, John Wilde, Marshall Glasier, and Karl Priebe, as well as her career as a painter and her work on the books Heidi's Horse and First Drawings: Genesis of Visual Thinking. Documentation consists of scattered biographical material, extensive correspondence, project files, writings by Huppler and others, printed material, photographs, artwork by Wilde and Glasier, and scrapbooks.

Arrangement:

The collection is arranged as 8 series:

Series 1: Biographical Material, 1936-2010 (Box 1, 8; 10 folders)

Series 2: Correspondence, 1941-2011 (Box 1-3; 2.3 linear feet)

Series 3: Project Files, 1970-2011 (Box 3-4, 8; 1.2 linear feet)

Series 4: Writings by Others, circa 1940s-1994 (Box 4; 4 folders)

Series 5: Printed Material, 1941-2010 (Box 4-5; 0.7 linear feet)

Series 6: Photographs, circa 1940-2000 (Box 5; 0.2 linear feet)

Series 7: Artwork, 1941-1947 (Box 5; 3 folders)

Series 8: Scrapbooks, circa 1940-2010 (Box 5-7; 0.8 linear feet)

Biographical Note:

Sylvia Fein (1919- ) is a painter and author in Martinez, California. She is part of the Magic Realist Group of artists that originated at the University of Wisconsin.

Fein was born in Milwaukee, Wisconsin, and from 1938 to 1942 she studied art at the University of Wisconsin in Madison. While there she became friends with fellow artists Marshall Glasier, John Wilde, Dudley Huppler, and Karl Priebe. In 1942 she married William Scheuber and briefly had a factory job in Milwaukee testing switches for naval planes. From 1944 to 1947 Fein lived and traveled throughout Mexico. Much of the work produced during this period was included in a solo exhibition of her paintings at the Perls Galleries in 1946. She and her husband then moved to northern California and had a daughter, Heidi. During the 1950s and 1960s, Fein continued to paint in her home studio.

In 1973 Fein decided to take a break from painting and published two books, Heidi's Horse (1976) and First Drawings: Genesis of Visual Thinking (1993). These works were greatly inspired by her friendship with art educator and researcher, Henry Shaefer-Simmern. In 2003 she resumed painting. She was featured in the group show, "With Friends: Six Magic Realists, 1940-1965" at the University of Wisconsin in 2005 and in a solo retrospective at the Bakersfield Art Museum in 2007. From 1970 to 2000 Fein was also active in the community of Pleasant Hill, California, as a member of several public services commissions.

Provenance:

The collection was donated in 2011 by Sylvia Fein.

Restrictions:

Use of original papers requires an appointment.

Rights:

The Sylvia Fein papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Painters -- California  Search this

Painters -- Wisconsin -- Madison  Search this

Topic:

Magic realism (Art)  Search this

Women artists -- California  Search this

Women artists -- Wisconsin  Search this

Authors -- Wisconsin  Search this

Authors -- California  Search this

Genre/Form:

Photographs

Scrapbooks

Citation:

Sylvia Fein papers, 1936-2011. Archives of American Art, Smithsonian Institution.

Identifier:

AAA.feinsylv

See more items in:

Sylvia Fein papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-feinsylv

Interviewee:

Wilde, John, 1919-2006  Search this

Interviewer:

Danoff, Michael  Search this

Type:

Sound recordings

Interviews

Topic:

Painting, Modern -- 20th century  Search this

Painters -- Wisconsin -- Evansville -- Interviews  Search this

Record number:

(DSI-AAA_CollID)12438

(DSI-AAA_SIRISBib)213193

AAA_collcode_wilde79

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_oh_213193

Creator:

Thomas, Howard WIlber, 1899-1971  Search this

Subject:

Federal Art Project  Search this

Type:

Sketchbooks

Topic:

Art -- Study and teaching -- Wisconsin -- Milwaukee  Search this

Prints  Search this

Record number:

(DSI-AAA_CollID)9243

(DSI-AAA_SIRISBib)211438

AAA_collcode_thomhowa

Theme:

Sketches & Sketchbooks

Lives of American Artists

Data Source:

Archives of American Art

EDAN-URL:

edanmdm:AAADCD_coll_211438

Creator:

Wilde, John, 1919-2006  Search this

Names:

Andrew Balkin Editions  Search this

Tandem Press  Search this

Abercrombie, Gertrude, 1909-1977  Search this

Bouras, Harry  Search this

Colescott, Warrington, 1921-  Search this

Cozzolino, Robert, 1970-  Search this

Economou, George  Search this

Ernst, Max, 1891-1976  Search this

Fein, Sylvia  Search this

Gardetto, Helga  Search this

Gardetto, Peter  Search this

Glasier, Marshall, 1902-  Search this

Hamady, Walter  Search this

Huppler, Dudley, 1917-1988  Search this

Karidis, Jerome  Search this

Laird, Mary Louise, 1948-  Search this

Lindbergh, Reeve  Search this

Littleton, Harvey K.  Search this

Minasian, Khatchik  Search this

Priebe, Karl J., 1914-1976  Search this

Seefeldt, Michael  Search this

Terkel, Studs, 1912-2008  Search this

Whitney, J. D.  Search this

Wolff, Theodore F.  Search this

Extent:

21.3 Linear feet

0.008 Gigabytes

Type:

Collection descriptions

Archival materials

Gigabytes

Sketches

Sketchbooks

Diaries

Photographs

Collages

Drawings

Interviews

Illustrated letters

Scrapbooks

Date:

1935-2011

Summary:

The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.

Scope and Contents:

The papers of Wisconsin painter, educator, and draftsman John Wilde measure 21.3 linear feet and 0.008 GB and date from 1935 to 2011. The papers consist of biographical material, correspondence, interviews, writings and notes, 27 journals, personal business records, exhibition files, two scrapbooks, photographic materials, six sketchbooks, artwork, and nearly 90 limited edition, letterpress artist collaboration books – many that include artwork contributed by Wilde.

Biographical materials include certificates and awards, a diploma from the University of Wisconsin, curriculum vitae, memorials, and membership files. Correspondence is with family and friends, and colleagues Karl Priebe, Gertrude Abercrombie, Sylvia Fein, Dudley Huppler, Marshall Glasier, Robert Cozzolino, Theodore Wolff, Peter and Helga Gardetto, Andrew Balkin Editions, Warrington Colescott, Tandem Press, Harvey Littleton, and others. Letters from Walter Hamady are access restricted and housed separately.

There are interviews with Wilde from Harry Bouras' radio show Critics Choice, as well as an interview with Gertrude Abercrombie by Studs Terkel's for Terkel's WFMT radio show broadcast in Chicago.

Wilde discusses his artwork and other topics in 27 journals spanning seven decades. Additional writings by Wilde include term papers, his thesis titled "A Survey of the Development of Surrealism in Painting and Its Chief Innovations with Special Emphasis on the Life and Work of Max Ernst," transcriptions for gallery talks and speeches, notes, and various other writings. Writings about Wilde are by Theodore Wolff, Michael Seefeldt, and other authors. Wilde's personal business records include account books, appraisals, donation papers, inventory books and lists, and a draft of Wilde's last will and testament.

There are exhibition files for Leaders in Wisconsin Art (1982), John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), John Wilde: Recent Work (2003), With Friends: Six Magical Realists (2005), and others.

Printed materials include art auction catalogs, calendars, clippings, exhibition catalogs and announcements, invitations, magazines and journals, poetry booklets, press releases, programs, and an annual report. There are also two scrapbooks containing clippings and other printed materials compiled by Wilde. There are photographs of Wilde, his studio and estate, his close friends and fellow artists, and of works of art by Wilde and others. Few photographs are in digital format.

A series of nearly 90 artists collaboration books, many illustrated by Wilde, include Five Poems by Khatchik Minasian, Poems for Self Therepy by George Economou, Six Poems by J.D. Whitney, John's Apples by Reeve Lindbergh and 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and A Hamady Wilde Sampler/Salutations 1995. Other books are by Walter Hamady, Mary Laird Hamady, and others.

Six sketchbooks contain drawings and studies, as well as sketches of himself, his friends, and of his first wife Helen. Interspersed througout the sketchbooks are lists of artworks, accounting notes, and other notes and writings. Additional artwork includes files marked as preparatory drawings by Wilde, a large collage by Jerome Karidis titled Homage to the Queen Gertrude Abercrombie, and a few drawings by others.

Arrangement:

The collection is arranged as 13 series.

Series 1: Biographical Materials, 1939-2006 (0.5 linear feet; Box 1)

Series 2: Correspondence, 1935-2011 (9.6 linear feet; Boxes 1-9, 21, 25-27)

Series 3: Interviews, circa 1959-circa 1975 (0.2 linear feet; Box 9)

Series 4: Journals, 1935-2006 (1.5 linear feet; Boxes 9-11)

Series 5: Writings and Notes, 1936-2006 (0.5 linear feet; Box 11)

Series 6: Personal Business Records, 1940-2006 (0.5 linear feet; Box 12)

Series 7: Exhibition Files, 1963-2010 (0.5 linear feet; Boxes 12-13)

Series 8: Printed Materials, 1940-2010 (0.5 linear feet; Boxes 13-14, 21)

Series 9: Scrapbooks, 1948-1963 (0.4 linear feet; Box 21)

Series 10: Photographic Materials, circa 1940-2000s (3.5 linear feet; Boxes 14-17, 21, 0.008 GB; ER01)

Series 11: Artists Collaboration Books, circa 1970-circa 2000 (4.0 linear feet; Box 17-20, 22)

Series 12: Sketchbooks, 1940-1985 (0.2 linear feet; Box 20, 22)

Series 13: Artwork, circa 1943-circa 2000 (0.3 linear feet; Box 20, OVs 23-24)

Biographical / Historical:

John Wilde (1919-2006) was a painter, educator, and draftsman who specialized in silver point and was associated with Magic Realism. He lived and worked in Wisconsin.

Wilde was born near Milwaukee, Wisconsin on December 12, 1919. He lived his whole life in Wisconsin except when he served in the U.S. Army during World War II. He attended the University of Wisconsin in Madison for his bachelor and master degrees in art and art history. While at university, Wilde, along with Marshall Glasier, Sylvia Fein, Karl Priebe, Dudley Huppler, and Gertrude Abercrombie, formed a close-knit circle of friends who shared similar ideas on art and painted in the style of Magic Realism. They often met at Priebe's studio in Milwaukee or Abercrombie's house in Chicago. Wilde also met his first wife and fellow art student, Helen Ashman, during this time. Wilde later married Shirley Grilley after Helen's death in 1966.

Wilde completed artwork for several books published by Perishable Press, a publishing company owned by Walter Hamady. He contributed illustrations to John's Apples by Reeve Lindbergh, 1985- The Twelve Months by Hamady, and Five Poems by Khatchik Minasian. Wilde also wrote and illustrated 44 Wilde 1944, What His Mother's Son Hath Wrought (WHMSHW), The Story of Jane and Joan, and co-authored A Hamady Sampler, Salutations 1995 with Hamady. In addition to his collaborations with Perishable Press, Wilde worked with Warrington Colescott, Harvey Littleton, Tandem Press, and Andrew Balkin Editions on various projects.

The Elvehjem Museum of Art, now the Chazen Museum of Art, located at the University of Wisconsin in Madison where Wilde taught art for 35 years, held several exhibitions of Wilde's work including John Wilde: Drawings 1940-1984 (1984), Wildeworld: The Art of John Wilde (1999), and With Friends: Six Magical Realists (2005).

The Tory Folliard Gallery in Milwaukee, Wisconsin began representing Wilde in 1993 and continued to represent Wilde's work after his death in Cooksville, Wisconsin on March 9, 2006.

Related Materials:

An interview with John Wilde conducted in 1979 by Michael Danoff for the Archives of American Art and the collection, Maurice W. Berger correspondence with John Wilde, 1952-1959, are also found in the Archives of American Art.

Separated Materials:

Also avaialbe at the Archives of American Art are materials lent for microfilming (reel 5661 and 4710) including letters from Walter Hamaday. Lent material was returned to the lender and is not described in the collection container inventory.

Portions of the loaned material on reel 4710 were subsequently donated, but a comparison of the film and papers was not completed.

Provenance:

The John Wilde papers were donated incrementally between 1975 and 2015 by John Wilde and his estate. Portions were previously lent for microfilming. Additional letters from Walter Hamady were lent for microfilming by John Wilde in December 1999.

Restrictions:

Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center. One box of letters from Walter Hamady is ACCESS RESTRICTED; use requires written permission. The Walter Hamady letters microfilmed on 2539a, 4710a, and 5661 are also ACCESS RESTRICTED.

Rights:

The John Wilde papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

Occupation:

Draftsmen (artists) -- Wisconsin  Search this

Painters -- Wisconsin  Search this

Art teachers -- Wisconsin  Search this

Topic:

Art -- Wisconsin  Search this

Surrealism  Search this

Magic realism (Art)  Search this

Genre/Form:

Sketches

Sketchbooks

Diaries

Photographs

Collages

Drawings

Interviews

Illustrated letters

Scrapbooks

Citation:

John Wilde Papers, 1935-2011. Archives of American Art, Smithsonian Institution.

Sponsor:

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

Identifier:

AAA.wildjohn

See more items in:

John Wilde papers

Archival Repository:

Archives of American Art

EDAN-URL:

ead_collection:sova-aaa-wildjohn