The collection documents the work of Charles G. Sheldon, the illustrator who created beautiful images of women for the "Breck Girls" advertising campaign from 1936-1957. Includes photographs of sitters, Breck advertising materials, Breck Company internal publications and newsletters, magazines with cover illustrations by Sheldon, a high school yearbook, internal papers from the Breck Company relating to the Breck Girls campaign, theater programs for which Sheldon designed the covers, prints of the advertisements, and an original pastel drawing by Sheldon.
Arrangement:
Collection is unarranged.
Biographical / Historical:
Portrait artist, best known for his illustrations of women in the "Breck Girls" advertising campaign. He also created cover illustrations for magazines such as Radio Digest and Photoplay.
Provenance:
Purchased by the Archives Center in 2017 from Kuenzig Books of Topsfield, Mass. Mr. Kuenzig recently purchased the collection from a Massachusetts dealer who had purchased it directly from the Sheldon family around 1997.
Restrictions:
Collection is open for research.
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.
2 Linear feet ((partially microfilmed on 3 reels))
4.5 Linear feet (Addition)
Type:
Collection descriptions
Archival materials
Sound recordings
Drawings
Date:
1929-1998
Scope and Contents:
Drawings, prints, sketchbooks and studies, correspondence, photographs and slides of Pickhardt's work and some of Pickhardt, writings and notes, scrapbook, an album, an audio-tape, art appraisals and inventories, records regarding gifts to museums, printed material, and miscellany.
REEL 964: Three photographs of Pickhardt, undated and 1971; 286 photographs of Pickhardt's paintings, 1934-1971; and 4 photographs of Pickhardt exhibitions at the Pittsfield Museum, 1941, and at the Jacques Seligmann Gallery, 1952-1954.
REEL 987: Four hundred eighty-one numbered sketches and photographs of Pickhardt's abstract paintings, dated Nov. 22, 1954-July 11, 1975.
REEL 1324: Five hundred fifty-one drawings, 1932-1974. Some of the drawings are priced on the verso, and one 1954 drawing includes notes on the process of abstraction.
UNMICROFILMED: One hundred seventy-three pencil, ink, and pastel drawings of figures and abstract forms, 1929-1974, and 36 lithographs and 13 etchings, 1934-1974 (these art works have not been compared to microfilm; it is possible some were previously microfilmed); slides, 1973-1995, of Pickhardt's paintings; and a letter, 1984, describing some of these paintings; two group photographs of Carl and Rosamond Pickhardt, Hyman and Stella Bloom, and Jack Levine, 1992; and photographs of Harold Zimmerman, Hyman Bloom, and Jack Levine (thumbnail size mounted on cardboard).
ADDITION: Biographical sketches; business and pesonal correspondence; a scrapbook compiled by Pickhardt's mother Louise Fowler Pickhardt, "A record of events in the life of Emile Pickhardt," ca. 1925-1941; an album of postcards and photographs from his European travels in 1929; a copy of Mondays at Nine or Pedagogues on Parade, illustrated by Pickhardt, published by the Harvard Lampoon, Inc., 1931; writings and notes; art appraisals and inventories; sketchbooks and small studies; an audiotape of a radio broadcast on the occasion of Pickhardt's one-person show at the Doris Meltzer Gallery, New York, 1961; photographs of Pickhardt and his works of art; color transparencies of paintings; a videotape, "Carl Pickhardt: A New Sense of Space," for An Uncommon View (Fitchburg Access Television), 1996; newspaper and magazine clippings; records regarding gifts to museums and the disposition of his art collection; and miscellany.
Biographical / Historical:
Painter, printmaker; Sherborn, Massachusetts. Born 1908.
Provenance:
Material on reels 964, 987 & 1324 lent for microfilming 1975-1977. Unmicrofilmed material donated 1975-1992 by Pickhardt, and in 1998 by his son, Carl Emile Pickhardt, Jr.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings and born-digital records with no duplicate copies requires advance notice.
Collection Citation:
Roy De Forest papers, 1916-2015. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by Gerald and Bente Buck. Funding for the digitization of this collection was provided by Gloria Marchant.
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Scope and Content Note:
The papers of painter and muralist Gifford Beal measure 7.7 linear feet and date from 1889 to 2001. The bulk of the collection consists of artwork, in addition to correspondence, writings, printed matter, including one scrapbook, pictorial subject files, photographs, and two scrapbooks of photographs of works of art. Artwork is primarily in the form of sketches and seventy-eight sketchbooks in a wide variety of media. Among the loose sketches are twenty-eight oil paintings on wood board or panel, and fourteen large pastel drawings on canvas depicting dancing figures in a romantic style. Artwork by other artists in the collection include prints by Arthur B. Davies, Rockwell Kent, and Denys Wortman.
Biographical materials include membership certificates, a marriage certificate, and a travel journal kept by Beal's wife, Maud Ramsdell Beal, on their honeymoon. Personal correspondence consists primarily of love letters between Beal and Maud Ramsdell Beal. Three folders of professional correspondence contain letters from Joseph Pennell (1925); Federal Art Project staff from the Treasury Department including Ed Rowan, Edward Bruce, and Forbes Watson (1938); Walker Hancock (1951); and a series of letters signed "Hyde," from Crow Island, Massachusetts, which may have been written by Edward Hyde Cox (1953-1954).
Also found among the papers are printed materials such as exhibition catalogs, clippings, and reproductions of artwork, both loose and in a scrapbook from the 1920s; subject files containing clippings, photographs, and other pictorial references to common subjects of Beal's artwork; a few personal photographs; and photographs of works of art. Notes and writings are found among Beal's sketchbooks, including one long autobiographical essay which may have been for a lecture, a few diary entries from 1942, and extensive notes on the color, form, and lighting of his sketching subjects. In addition to a scrapbook relating to Beal exhibitions, there are also two scrapbooks containing photographs of works of art.
Arrangement:
The collection is arranged as 7 series:
Missing Title
Series 1: Biographical Materials, 1900-1909, 1942, 1953 (0.2 linear feet; Boxes 1 and 5, OV 10)
Series 2: Correspondence, 1906-1954 (0.4 linear feet; Box 1)
Series 3: Printed Materials, 1900-2001 (0.4 linear feet; Boxes 1, 5, OVs 11, 16)
Series 4: Subject Files, 1889-1953 (0.4 linear feet; Boxes 1-2, OV 10-12)
Series 5: Photographs, 1908-1950 (0.2 linear feet; Box 2, OV 10)
Series 6: Artwork, 1900-1951 (3.3 linear feet; Boxes 2-9; OV 10, 13-20 and rolled documents 21 and 22)
Series 7: Scrapbook, circa 1919-circa 1951 (1.1 linear ft; Boxes 7, 23)
Biographical Note:
Painter and muralist Gifford Beal was born in New York City in 1879, the youngest of six children. Beal began his art training at 13, when he accompanied his older brother, Reynolds Beal, to the Shinnecock School of Art for classes with William Merritt Chase. Gifford Beal continued to study with Chase for ten years at Shinnecock, the Tenth Street Studio building in New York City, and the New York School of Art. Beal attended college at Princeton University from 1896 to 1900, and from 1901 to 1903 he also took classes at the Art Students League with George Bridgman and Frank Vincent DuMond. In 1908, Beal married Maud Ramsdell of Newburgh, New York, where the Beal family also had an estate. They had two sons, William (b. 1914) and Gifford, Jr. (b. 1917).
Beal received all of his training in the United States at a time when European art training was the norm among his peers. Beal's earliest subject matter was taken from the familiar worlds of New York City and the Hudson River Valley, where he frequently spent his summers. Later work would depict other summer homes, including Provincetown, Rockport, and Gloucester, Massachusetts. Throughout his career he explored a variety of styles in his approach to these and other representational subjects such as garden parties, the circus, Central Park scenes, and coastal scenes in the Northeast and the Caribbean.
Beal exhibited at the National Academy of Design's annual exhibition almost continuously from 1901 to 1956, was a member of the Academy from 1914, and won at least seven awards given by the Academy over the course of his career. He won his first award in 1903 from the Worcester Art Museum. He exhibited regularly in major annual exhibitions and world expositions, including the Panama Pacific Exposition of 1915, where he won a gold medal.
Gifford and Reynolds Beal exhibited in a two-man show in 1907 at Clausen Galleries, and the two brothers were both eventually represented by Kraushaar Galleries, where Gifford Beal had his first one-man show in 1920. Beal served as president of the Art Students League from 1916 until 1930, the longest term of any president, and taught there in 1931 and 1932.
Beal was commissioned by the Section on Painting and Sculpture of the Works Progress Administration to paint ten murals for the Allentown, Pennsylvania post office in the late 1930s. The Allentown murals depicted American revolutionaries hiding the liberty bell at Allentown. In 1941, he completed two murals in the Department of the Interior building in Washington, DC: North Country, and Tropical Country, and he painted seven panels at Princeton University in 1943 depicting the life of the nineteenth-century engineer Joseph Henry. He was awarded an honorary Masters degree by Princeton in 1947.
Retrospective exhibitions were held at the Century Club, San Francisco Museum, Des Moines Art Center, and Butler Institute in the early 1950s. Upon his death in 1956, a memorial exhibition was held at the American Academy of Arts and Letters, where Beal became a member in 1943.
Provenance:
Papers were donated to the Archives by Gifford Beal's descendants in three separate accessions. Beal's sons, William and Gifford R. Beal, Jr., donated sketches and sketchbooks in 1992 and 1993. Richard and Lewis Goff, Margaret Beal Alexander, and Telka Beal donated additional sketches, sketchbooks, and materials from Beal's studio in 2000 through the Cape Ann Savings Bank, facilitated by Kraushaar Galleries.
Margaret Beal Alexander, Beal's granddaughter, also donated personal papers of her grandparents via Kraushaar Galleries in 2000. Additional sketchbooks and a poster illustrated by Beal were donated by Beal's Estate via Kraushaar Galleries in 2007. Two scrapbooks of photographs of works of art were donated by Beal's Estate via Kraushaar Galleries in 2015.
Restrictions:
The bulk of the collection has been digitized and is available online via AAA's website. Use of material not digitized requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Leo Castelli Gallery records, circa 1880-2000, bulk 1957-1999. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the partial digitization of this collection was provided by the Roy Lichtenstein Foundation.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Letters written by Charles Lang Freer to his friend and business associate Frank Hecker (1846-1927) while Freer during multiple trips to Europe between June of 1899 and July of 1903. Freer stayed for long periods of time in London, meeting with the painter James McNeill Whister. He also stayed for long periods in Paris, and at a villa that he co-owned on the Mediterranean island of Capri with his friend Thomas S. Jerome (1864-1914). The final letters describe Whistler's death on July 17th, 1903.
Arrangement:
Organized chronologically.
Local Numbers:
FSA A.01 02.1Hecker.travel3
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Comprehensive index of Charles Lang Freer's library, mostly relating to art and Asian culture. Headings include authors, countries, and topical subjects. Sections include locations in Freer's original Detroit home; an index of all books transferred to the Smithsonian; a list of collections and collectors catalogues of American and Near and Far Eastern art; sales catalogues, and books in Chinese language.
Arrangement:
Organized in the original manner by the creator.
Local Numbers:
FSA A.01 05.22
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
"Miscellaneous List of Whistler's Work, including Oil Paintings, Pastels, Drawings, Wood Engravings, and Photographs, Reserved September 1, 1914"
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Pastel and gouache drawings of the eighteenth century from French collections : thirtieth anniversary exhibition, October 17 - November 15, 1969 / exhibited and offered for sale by the William H. Schab Gallery
Pastells, aquarelles et dessins de paysagistes français du dix-neuvième siècle : appartenent au Cabinet des dessins du Musée du Louvre : [exposition au Musée de l'Orangerie, 1933 / catalogue rédigé par Charles Sterling]
Title:
Dessins et aquarelles de paysagistes français du dix-neuvième siècle
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Miscellaneous art exhibition catalog collection, 1813-1953, bulk 1915-1925. Archives of American Art, Smithsonian Institution.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Miscellaneous art exhibition catalog collection, 1813-1953, bulk 1915-1925. Archives of American Art, Smithsonian Institution.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Researchers interested in accessing born-digital records or audiovisual recordings in this collection must use access copies. Contact Reference Services for more information.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Matsumi Kanemitsu papers, circa 1947-1998. 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.
