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Reproduction of Polly Thayer's pastel drawing The moth

Subject:
Thayer, Polly  Search this
Type:
Photographs
Date:
between 1990 and 1993?
Topic:
Flowers in art  Search this
Record number:
(DSI-AAA)16597
See more items in:
Polly Thayer (Starr) papers, 1846-2008, bulk bulk 1921-2008
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_16597
Online Media:

Oil paintings, Water Colors, Pastels & Drawings. Memorial Exhibition of the Works of Mr. J. McNeill Whistler

Creator:
Copley Society (Boston, Mass.)  Search this
Subject:
Whistler, James McNeill  Search this
Type:
Printed Materials
Date:
1904
Record number:
(DSI-AAA)3348
See more items in:
James McNeill Whistler collection, 1863-1906
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_3348

Mies Graham at work

Photographer:
Bofinger  Search this
Subject:
Graham, Mies  Search this
Type:
Photographs
Place:
New York, N.Y.
Date:
1939 January 25
Topic:
Art and state  Search this
Artists at or with their work  Search this
Federal aid to the arts  Search this
New Deal, 1933-1939  Search this
Record number:
(DSI-AAA)2129
See more items in:
Federal Art Project, Photographic Division collection, circa 1920-1965, bulk bulk 1935-1942
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_item_2129
Online Media:

Carl E. Pickhardt papers, 1929-1998

Creator:
Pickhardt, Carl E., 1908-2004  Search this
Type:
Sound recordings
Drawings
Topic:
Art, Abstract  Search this
Painting, Modern -- 20th century  Search this
Record number:
(DSI-AAA_CollID)7033
(DSI-AAA_SIRISBib)209166
AAA_collcode_pickcarl
Theme:
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209166

Frieda Savitz papers, 1981

Creator:
Savitz, Frieda, 1931-1985  Search this
Subject:
Greer, Germaine  Search this
Topic:
Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)8567
(DSI-AAA_SIRISBib)210746
AAA_collcode_savifrie
Theme:
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_210746

Edward H. La Farge papers, 1928-1974

Creator:
LaFarge, Edward H. (Edward Hooper), 1901-1981  Search this
Subject:
Washburn, Gordon B. (Gordon Bailey)  Search this
Hatch, John Davis  Search this
Rhode Island School of Design  Search this
Topic:
Art -- Study and teaching -- Rhode Island  Search this
Record number:
(DSI-AAA_CollID)5791
(DSI-AAA_SIRISBib)208630
AAA_collcode_lafaedwa
Theme:
Art Materials, Techniques, and Studio Art Education
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_208630

Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974

Creator:
Jacques Seligmann & Co.  Search this
Subject:
Hauke, Cesar M. de (Cesar Mange)  Search this
Glaenzer, Eugene  Search this
Haardt, Georges  Search this
Seligman, Germain  Search this
Seligmann, Arnold  Search this
Parker, Theresa D.  Search this
Waegen, Rolf Hans  Search this
Trevor, Clyfford  Search this
Seligmann, René  Search this
Seligmann, Jacques  Search this
De Hauke & Co., Inc.  Search this
MM. Jacques Seligmann & fils  Search this
Eugene Glaenzer & Co.  Search this
Germain Seligmann & Co.  Search this
Gersel  Search this
Type:
Gallery records
Topic:
Mackay, Clarence Hungerford, 1874-1938 -- Art collections  Search this
Schiff, Mortimer L. -- Art collections  Search this
Arenberg, duc d' -- Art collections  Search this
Liechtenstein, House of -- Art collections  Search this
Art -- Collectors and collecting -- France -- Paris  Search this
Art -- Collectors and collecting  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art dealers -- New York (State) -- New York  Search this
World War, 1939-1945 -- Art and the war  Search this
Art dealers -- France -- Paris  Search this
La Fresnaye, Roger de, 1885-1925  Search this
Art, Renaissance  Search this
Decorative arts  Search this
Art treasures in war  Search this
Art, European  Search this
Art galleries, Commercial -- France -- Paris  Search this
Record number:
(DSI-AAA_CollID)9936
(DSI-AAA_SIRISBib)212486
AAA_collcode_jacqself
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_212486
9 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 1
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  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 3
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 4
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 5
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 6
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 7
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 8
  • View Jacques Seligmann & Co. records, 1904-1978, bulk bulk 1913-1974 digital asset number 9
Online Media:

Margaret Casey Gates papers, 1934-1988

Creator:
Gates, Margaret Casey, 1903-1989  Search this
Subject:
Rayford, Julian Lee  Search this
Stieglitz, Alfred  Search this
Lewis, John L.  Search this
Taylor, Prentiss  Search this
Gernand, John  Search this
Gates, Robert Franklin  Search this
Garrett, Alice Warder  Search this
Fitzpatrick, Daniel Robert  Search this
Dove, Arthur Garfield  Search this
Knaths, Karl  Search this
Clark, Betty Jean  Search this
Phillips Collection  Search this
Phillips Memorial Gallery. Art School  Search this
Federal Works Agency  Search this
Federal Art Project  Search this
Armory Show  Search this
Type:
Photographs
Scrapbooks
Writings
Sketchbooks
Topic:
New Deal, 1933-1939  Search this
Post office buildings -- North Carolina  Search this
Painters -- Washington (D.C.)  Search this
Art teachers -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Women painters -- Washington (D.C.)  Search this
Record number:
(DSI-AAA_CollID)6547
(DSI-AAA_SIRISBib)215822
AAA_collcode_gatemarg
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215822
Online Media:

Gifford Beal sketches, sketchbooks, and papers, 1889-2001, bulk bulk 1900-1954

Creator:
Beal, Gifford, 1879-1956  Search this
Subject:
Davies, Arthur B. (Arthur Bowen)  Search this
Kent, Rockwell  Search this
Beal, Maud Ramsdell  Search this
Cox, Edward  Search this
Bruce, Edward  Search this
Watson, Forbes  Search this
Wortman, Denys  Search this
Hancock, Walker Kirtland  Search this
Pennell, Joseph  Search this
Rowan, Edward Beatty  Search this
Federal Art Project  Search this
Type:
Scrapbooks
Sketchbooks
Sketches
Travel diaries
Love letters
Drawings
Prints
Diaries
Paintings
Photographs
Topic:
Drawing -- Technique  Search this
Painters -- New York (State)  Search this
Mural painting and decoration -- 20th century -- Pennsylvania -- Allentown  Search this
Muralists -- New York (State) -- New York  Search this
Record number:
(DSI-AAA_CollID)10981
(DSI-AAA_SIRISBib)214824
AAA_collcode_bealgiff
Theme:
Sketches & Sketchbooks
Lives of American Artists
Government Sponsorship of the Arts
Audio - Visual
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214824
Online Media:

Frieda Savitz papers

Creator:
Savitz, Frieda, 1931-1985  Search this
Names:
Greer, Germaine, 1939-  Search this
Extent:
5 Items
Type:
Collection descriptions
Archival materials
Date:
1981
Scope and Contents:
A curriculum vitae of Savitz; handwritten excerpts copied from a letter written to Germaine Greer by Savitz, December 26, 1979; and handwritten documentation, including "Chronology of Drawings, Paintings, Prints, Writings," 1981; " 'People of the Street- Series of Paintings and Drawings, 1978-1979,' April 22, 1981, and "Presentation for 'Make Love-A Place' Series of Pastel Drawings (1979-1981), April 15, 1981.
Biographical / Historical:
Painter, instructor; New York, N.Y.
Provenance:
Donated 1981 by Frieda Savitz.
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:
Educators  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Painting, Modern -- 20th century -- History -- New York (State) -- New York  Search this
Women artists -- New York (State) -- New York  Search this
Identifier:
AAA.savifrie
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-savifrie

Carl E. Pickhardt papers

Creator:
Pickhardt, Carl E.  Search this
Extent:
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.
Occupation:
Painters -- Massachusetts  Search this
Printmakers -- Massachusetts  Search this
Topic:
Art, Abstract  Search this
Painting, Modern -- 20th century  Search this
Genre/Form:
Sound recordings
Drawings
Identifier:
AAA.pickcarl
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-pickcarl

Edward H. La Farge papers

Creator:
LaFarge, Edward H. (Edward Hooper), 1901-1981  Search this
Names:
Rhode Island School of Design  Search this
Hatch, John Davis  Search this
Washburn, Gordon B. (Gordon Bailey), 1904-1983  Search this
Extent:
1 Linear foot (ca. 600 items (partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1928-1974
Scope and Contents:
Papers mostly regarding La Farge's teaching career at Rhode Island School of Design.
UNMICROFILMED: Resumes and applications, 1937-1962; correspondence, undated and 1928-1971, with letters from Gordon Bailey Washburn, John Davis Hatch, and others; 3 photographs, undated and 1958, of La Farge and others; ca. 200 slides and photographs, undated and 1969-1971, of his students' work; 2 small sketchbooks, undated, containing watercolor drawings, pencil drawings and pastel drawings; other artwork, including collage, ink and pencil drawings, and two woodblock prints, one signed "Phelps" and the other signed "Cardenas"; and five profusely illustrated notebooks and illustrated loose notes dating from his years as an art student.
Also included are writings on art and on his family; teaching files, primarily containing lecture notes, undated; a film strip of student's work; a file on La Farge's activities with the Junior Recreation Center, including equipment lists, budgets, etc., 1943-1945; and printed materials, mostly regarding the RISD (newsletters, exhibition catalogs and reports by the school president, etc.).
REEL 2707: An unpublished photographic essay by John McWilliams on La Farge and his freshman three-dimensional design class at the RISD in the early 1970's. Also included is a letter from David B. Manzella, to La Farge, 1974; and a newspaper clipping about La Farge, 1965.
Biographical / Historical:
Art instructor. La Farge was an art instructor at the Rhode Island School of Design from ca. 1944-1974.
Provenance:
Material on reel 2707 lent for microfilming 1982 by Anne W. La Farge, wife of Edward H. La Farge; unmicrofilmed material donated 1982 by La Farge.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Occupation:
Art teachers  Search this
Topic:
Art -- Study and teaching -- Rhode Island  Search this
Identifier:
AAA.lafaedwa
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-lafaedwa

Kraushaar Galleries records

Creator:
Kraushaar Galleries  Search this
Names:
Art Institute of Chicago  Search this
Carnegie Institute  Search this
Cleveland Museum of Art  Search this
Ernest Brown and Co.  Search this
Museum of Modern Art (New York, N.Y.)  Search this
New Britain Institute. Art Museum  Search this
Toledo Museum of Art  Search this
University of Nebraska--Lincoln. Department of Art  Search this
Whitney Museum of American Art  Search this
Wichita Art Museum  Search this
Albrizio, Humbert, 1901-1970  Search this
Allard, J.  Search this
Arnest, Bernard, 1917-  Search this
Bacon, Peggy, 1895-1987  Search this
Beal, Gifford, 1879-1956  Search this
Beal, Reynolds, 1866-1951  Search this
Bignou, Etienne  Search this
Bouché, Louis, 1896-1969  Search this
Brueming, Karen  Search this
Cantene, David  Search this
Cowles, Russell, 1887-1979  Search this
DeLonga, Leonard  Search this
Demuth, Charles, 1883-1935  Search this
Evett, Kenneth Warnock, 1913-  Search this
Fausett, Dean, 1913-  Search this
Flannery, Vaughn  Search this
Glackens, Edith  Search this
Glackens, William J., 1870-1938  Search this
Guillaume, Paul, 1891-1934  Search this
Halberstadt, Ernst, 1910-1987  Search this
Hardy, Thomas, 1921-  Search this
Harrison, Preston  Search this
Hartell, John  Search this
Heliker, John, 1909-2000  Search this
Juley, Peter A., 1862-1937  Search this
Kirsch, Frederick D. (Frederick Dwight), b. 1899  Search this
Kraushaar, Antoinette M., 1902-1992  Search this
Kraushaar, John F., 1871-1946  Search this
Kuhn, Walt, 1877-1949  Search this
Lachaise, Gaston, 1882-1935  Search this
Lasker, Joe  Search this
Laurent, Robert, 1890-1970  Search this
Lechay, James  Search this
Luks, George Benjamin, 1867-1933  Search this
Miller, Harriette  Search this
Morris, Carl, 1911-1993  Search this
Murdock, Roland P. -- Art collections  Search this
Navas, Elizabeth S., 1885-1979  Search this
Penney, James, 1910-1982  Search this
Phillips, Duncan, 1886-1966  Search this
Prendergast, Charles, 1863-1948  Search this
Prendergast, Maurice Brazil, 1858-1924  Search this
Robinson, Boardman, 1876-1952  Search this
Ruellan, Andrée, 1905-2006  Search this
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Sloan, John, 1871-1951  Search this
Smalley, David, 1940-  Search this
Smith, Vernon, 1894-1969  Search this
Stanley, Alix W.  Search this
Williams, Esther, 1907-1969  Search this
Wilson, Ralph L.  Search this
Extent:
91.9 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sketches
Drawings
Exhibition catalogs
Financial records
Notes
Sketchbooks
Date:
1877-2006
Summary:
The records of New York City Kraushaar Galleries measure 91.9 linear feet and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.
Scope and Content Note:
The records of New York City Kraushaar Galleries measure 91.9 linear feet and date from 1877 to 2006. Three-fourths of the collection documents the gallery's handling of contemporary American paintings, drawings, and sculpture through correspondence with artists, private collectors, museums, galleries, and other art institutions, interspersed with scattered exhibition catalogs and other materials. Also included are John F. Kraushaar's estate records; artists' files; financial ledgers documenting sales and gallery transactions; consignment and loan records; photographs of artwork; sketchbooks and drawings by James Penney, Louis Bouché, and others; and two scrapbooks.

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

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

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

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

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

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

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

The 2008-2009 accretion includes additional correspondence similar in content and with correspondents as described above, as well as some artists' Christmas cards. However, the bulk of the additional correspondence dates from 1965-2006, with a handful of miscellaneous correspondence from 1877 to the mid-twentieth century. Also found are financial and business records including records from the closing of the John F. Kraushaar estate; over 40 ledgers providing nearly complete documentation of the gallery's sales and transactions from its establishment to 1946; incoming consignment records, including account statements and correspondence with artists, from the 1940s to 2006; and outgoing consignment and loan records from 1899-2006. The gallery's representation of its stable of artists is documented through artists' files containing printed materials, exhibition catalogs and announcements, price lists, and biographical information, as well as containers of photographs and negatives of artwork. Also found is a 1933 sketchbook by James Penney, drawings and sketchbooks by Louis Bouché, and two scrapbooks.

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

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

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

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

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

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

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

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

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

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

Series 6: Addition to the Kraushaar Galleries Records, 1877-2006 (boxes 55-99, BV100; 38.4 linear feet)
Historical Note:
Charles W. Kraushaar established Kraushaar Galleries in 1885 as a small store on Broadway near Thirty-first Street in New York City. Initially the store sold artist materials, photogravures, and reproductions. Drawing on his previous experience working with William Schause, a leading dealer in European paintings, Kraushaar soon progressed to selling original watercolors, paintings, and engravings by European artists, primarily landscapes of the Barbizon School.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1854 -- Charles W. Kraushaar born

1871 -- John F. Kraushaar born

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

1901 -- Galleries moved to 260 Fifth Avenue

1902 -- Antoinette Kraushaar born

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

1919 -- Galleries moved to 680 Fifth Avenue

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

1924 -- Maurice Prendergast died

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

1938 -- William J. Glackens died

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

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

1948 -- Charles Prendergast died

1950 -- Antoinette Kraushaar assumed sole ownership of Kraushaar Galleries

1951 -- John Sloan died

1955 -- Galleries moved to 1055 Madison Avenue

1959 -- Carole Pesner joined Kraushaar Galleries

1964 -- Galleries extended into adjacent building

1981 -- Galleries moved to 724 Fifth Avenue

1986 -- Katherine Kaplan joined Kraushaar Galleries

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

1992 -- Antoinette Kraushaar died
Appendix: List of Kraushaar Galleries Exhibitions:
The Archives of American Art does not hold a complete collection of catalogs from exhibitions held at Kraushaar Galleries; therefore the dates and titles of exhibitions provided in this appendix are inferred from a variety of sources including correspondence, notes, artists' files, and requests for advertising. Italics indicate that the exact title of an exhibition is known.

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

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

Jan., 1913 -- Paintings by Ignacio Zuloaga

May, 1913 -- Etchings by Seymour Haden

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

Oct., 1913 -- Etchings by Frank Brangwyn

Jan., 1914 -- Ignacio Zuloaga

Mar., 1914 -- Paintings by Alphonse Legros

Apr., 1914 -- George Luks

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

undated, 1915 -- Paintings by John Lavery

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

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

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

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

Oct., 1917 -- Monoprints by Salvatore Antonio Guarino

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

Jan., 1918 -- Recent Paintings by John Lavery

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

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

Mar., 1918 -- Paintings by John Sloan

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

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

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

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

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

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

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

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

Sept., 1919 -- Work by Jean Louis Forain

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

Jan., 1920 -- Recent Paintings by George Luks

Feb., 1920 -- Recent Paintings by John Sloan

Feb., 1920 -- Paintings by William Scott Pyle

Mar., 1920 -- Recent Paintings by Gifford Beal

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

Apr., 1920 -- Paintings by Henri Le Sidaner

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

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

May, 1920 -- Paintings by Henrietta M. Shore

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

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

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

Apr., 1921 -- John Sloan Retrospective

Summer, 1921 -- French and American Artists

Oct., 1921 -- Paintings of Mountford Coolidge

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

Nov., 1921 -- Frank Van Vleet Tompkins

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

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

Feb., 1922 -- Paintings by Augustus Vincent Tack

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

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

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

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

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

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

Mar., 1923 -- Landscapes by Will Shuster

Mar., 1923 -- Paintings by Samuel Halpert

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

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

May, 1923 -- Paintings by Frank Van Vleet Tompkins

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

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

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

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

Jan., 1924 -- Paintings by Celebrated American Artists

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

Apr., 1924 -- New Paintings by George Luks

May, 1924 -- Paintings by Marjorie Phillips

Summer, 1924 -- French and American Modern Artists

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

Nov., 1924 -- Watercolors by Seven Americans

Dec., 1924 -- French Paintings

Jan., 1925 -- Paintings by John Sloan

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

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

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

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

undated, 1926 -- Lower Broadway by W. Walcot

Feb., 1926 -- Paintings by Paul Burlin

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

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

Apr., 1926 -- John Sloan

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

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

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

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

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

Jan., 1927 -- French Drawings and Prints

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

Mar., 1927 -- Gifford Beal

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

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

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

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

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

May, 1927 -- Paintings by Guy Pène Du Bois

Summer, 1927 -- Paintings by American Artists

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

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

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

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

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

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

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

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

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

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

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

Mar., 1928 -- Recent Paintings by Marjorie Phillips

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

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

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

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

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

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

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

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

Jan., 1929 -- Watercolors by Rodin

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

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

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

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

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

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

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

May, 1929 -- Paintings by Howard Ashman Patterson

May, 1929 -- Paintings by William Meyerowitz

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

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

Jan., 1930 -- Paintings by Paul Bartlett

Feb., 1930 -- Watercolors by Auguste Rodin

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

Summer, 1930 -- Paintings by American Artists

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

Nov., 1930 -- Paintings by Ruth Jonas

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

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

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

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

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

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

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

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

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

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

Jan., 1932 -- Watercolors by Pierre Brissaud

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

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

Apr., 1932 -- Paintings by Nan Watson

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

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

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

Jan., 1933 -- Paintings by Paul Bartlett

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

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

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

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

Apr., 1933 -- Paintings by Maurice Prendergast

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

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

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

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

Dec., 1933 -- Watercolors by Gifford Beal

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

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

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

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

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

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

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

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

Mar., 1936 -- Paintings by Louis Bouché

Apr., 1936 -- Paintings by Gifford Beal

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

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

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

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

Feb., 1937 -- Etchings by John Sloan

Feb., 1937 -- A Group of American Paintings

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

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

Dec., 1937 -- American Watercolors

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

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

Apr., 1938 -- Paintings by Louis Bouché

May, 1938 -- Paintings and Pastels by Randall Davey

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

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

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

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

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

Oct., 1939 -- French and American Paintings

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

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

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

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

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

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

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

Oct., 1940 -- Drawings by American Artists

Nov., 1940 -- Walt Dehner

Mar., 1941 -- John Koch

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

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

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

Dec., 1941 -- Charles Prendergast

Jan., 1942 -- Paintings by Samuel Brecher

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

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

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

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

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

Mar., 1943 -- Paintings by John Hartell

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

Feb.-Mar., 1944 -- Samuel Brecher

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

Mar., 1944 -- Vaughn Flannery

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

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

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

Oct., 1944 -- Esther Williams

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

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

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

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

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

Apr.-May, 1945 -- Charles Locke

May-June, 1945 -- William Dean Fausett

Oct., 1945 -- Paintings by John Hartell

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

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

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

undated, 1946 -- Russell Cowles

Jan.-Feb., 1946 -- Richard Lahey

Feb., 1946 -- John Koch

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

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

Mar., 1946 -- Iver Rose

Apr., 1946 -- Louis Bouché

Apr.-May, 1946 -- Russell Cowles

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

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

Nov., 1946 -- Guy Pène Du Bois

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

Jan., 1947 -- Karl Schrag

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

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

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

Apr., 1947 -- Charles Prendergast

Apr., 1947 -- Louis Bouché

Apr.-May, 1947 -- Esther Williams

Oct.-Nov., 1947 -- Anna Licht

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

Mar., 1948 -- Russell Cowles

Apr.-May, 1948 -- Bernard Arnest

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

Oct.-Nov., 1948 -- Kenneth Evett

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

Jan.-Feb., 1949 -- John Hartell

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

Oct., 1949 -- Contemporary Paintings

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

Jan.-Feb., 1950 -- James Penney

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

Mar.-Apr., 1950 -- Russell Cowles

Jan.-Feb., 1951 -- William Sommer

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

Feb., 1951 -- Paintings by Louis Bouché

Mar., 1951 -- Kenneth Evett

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

May-July, 1951 -- Contemporary American Watercolors

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

Sept.-Oct., 1951 -- Vaughn Flannery

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

Nov., 1951 -- Paintings by John Koch

Nov.-Dec., 1951 -- Joe Lasker

Dec., 1951 -- Small Prints and Drawings

Jan., 1952 -- Recent Gouaches by William Kienbusch

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

Feb.-Mar., 1952 -- Andrée Ruellan

Mar.-Apr., 1952 -- Bernard Arnest

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

May, 1952 -- Recent Paintings by Contemporary American Artists

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

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

Nov., 1952 -- Karl Schrag

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

Jan., 1953 -- Charles Prendergast Memorial Exhibition

Jan.-Feb., 1953 -- John Hartell

May, 1953 -- John Heliker

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

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

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

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

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

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

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

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

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

Feb.-Mar., 1954 -- Russell Cowles

Mar.-Apr., 1954 -- James Penney

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

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

Jan.-Feb., 1955 -- James Lechay

Feb., 1955 -- Mobiles by George Rickey

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

Mar.-Apr., 1955 -- Jane Wasey

Apr., 1955 -- Recent Work by Joe Lasker

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

Jan., 1956 -- Carl Morris

Jan.-Feb., 1956 -- John Laurent

Feb.-Mar., 1956 -- William Kienbusch

Mar., 1956 -- Andrée Ruellan

Mar.-Apr., 1956 -- Karl Schrag

Apr.-May, 1956 -- John Heliker

May, 1956 -- Monotypes by Maurice Prendergast

Oct., 1956 -- The Eight

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

Apr., 1957 -- James Penney

Apr.-May, 1957 -- John Heliker

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

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

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

Nov., 1957 -- Marguerite Zorach

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

Jan.-Feb., 1958 -- Tom Hardy

Feb.-Mar., 1958 -- John Koch

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

Feb.-Mar., 1958 -- Cecil Bell

Mar., 1958 -- Karl Schrag

Mar., 1958 -- Carl Morris

Mar.-Apr., 1958 -- Louis Bouché

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

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

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

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

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

Oct.-Nov., 1958 -- Kenneth Evett

Nov., 1958 -- Elsie Manville

Nov.-Dec., 1958 -- John Laurent

Jan., 1959 -- Kinetic Sculpture by George Rickey

Jan.-Feb., 1959 -- Bernard Arnest

Mar., 1959 -- Karl Schrag

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

Apr.-May, 1959 -- Henry Mitchell

Sept.-Oct., 1959 -- Robert Searle

Oct.-Nov., 1959 -- Russell Cowles

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

Dec., 1959 -- Paintings by Vaughn Flannery

Feb., 1960 -- James Lechay

Apr., 1960 -- Landscapes by John Sloan

Apr.-May, 1960 -- John Guerin

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

Oct., 1960 -- Ainslie Burke

Oct.-Nov., 1960 -- Leon Goldin

Nov.-Dec., 1960 -- Ulfert Wilke

Jan., 1961 -- Leonard DeLonga

Jan., 1961 -- Kenneth Evett

Jan.-Feb., 1961 -- Walter Feldman

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

Mar., 1961 -- Paintings by Ralph Dubin

Mar.-Apr., 1961 -- James Penney

Apr.-May, 1961 -- John Koch

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

Sept., 1961 -- Works by Contemporary Americans

Oct., 1961 -- George Rickey: Kinetic Sculpture

Oct.-Nov., 1961 -- Carl Morris

Nov.-Dec., 1961 -- Peggy Bacon

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

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

Jan.-Feb., 1962 -- Louis Bouché

Feb.-Mar., 1962 -- Karl Schrag

Mar., 1962 -- Marguerite Zorach

Apr., 1962 -- John Laurent

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

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

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

Oct., 1962 -- Bernard Arnest

Feb., 1963 -- William Kienbusch

Feb.-Mar., 1963 -- John Guerin

Mar., 1963 -- John Hartell

Sept.-Oct., 1963 -- Andrée Ruellan

Oct.-Nov., 1963 -- Ainslie Burke

Nov., 1963 -- Walter Feldman

Dec., 1963 -- Drawings by John Koch

Dec., 1963 -- Paintings by Contemporary Americans

Jan., 1964 -- Leonard DeLonga

Jan.-Feb., 1964 -- Joe Lasker

Feb.-Mar., 1964 -- Leon Goldin

Mar., 1964 -- Paintings by Ralph Dubin

Apr., 1964 -- Carl Morris

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

Oct.-Nov., 1964 -- Louis Bouché

Nov.-Dec., 1964 -- Karl Schrag

Dec., 1964 -- Kenneth Evett

Feb., 1965 -- Russell Cowles

Feb.-Mar., 1965 -- James Lechay

Mar.-Apr., 1965 -- James Penney

Apr.-May, 1965 -- Gifford Beal

Feb., 1966 -- Dennis Leon

Feb.-Mar., 1966 -- Henry Schnakenberg

Mar.-Apr., 1966 -- John Hartell

Apr., 1966 -- Elsie Manville

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

Oct.-Nov., 1966 -- Tom Hardy

Nov.-Dec., 1966 -- Francis Chapin

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

Jan.-Feb., 1967 -- Leonard DeLonga

Feb.-Mar., 1967 -- Carl Morris

Mar.-Apr., 1967 -- Ainslie Burke

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

May-June, 1967 -- William Glackens

Oct., 1967 -- Kenneth Callahan

Oct.-Nov., 1967 -- John Laurent

Jan.-Feb., 1968 -- Dennis Leon

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

Apr., 1968 -- John Guerin

Apr.-May, 1968 -- Leon Goldin

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

Oct.-Nov., 1968 -- Karl Schrag

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

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

Jan., 1969 -- Elsie Manville

Mar., 1969 -- Kenneth Evett

Apr.-May, 1969 -- James Penney

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

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

Nov., 1969 -- Peggy Bacon

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

Jan., 1970 -- Leonard DeLonga

Feb., 1970 -- Joe Lasker

Mar., 1970 -- Group Exhibition

Mar.-Apr., 1970 -- Dennis Leon

Apr.-May, 1970 -- Jerome Myers

Oct.-Nov., 1970 -- Tom Hardy

Jan.-Feb., 1971 -- Jane Wasey

Mar.-Apr., 1971 -- Kenneth Callahan

Oct., 1971 -- Ainslie Burke

Nov.-Dec., 1971 -- Karl Schrag

Feb.-Mar., 1972 -- John Koch

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

Apr.-May, 1972 -- Leon Goldin

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

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

Oct.-Nov., 1972 -- John Hartell

Nov.-Dec., 1972 -- Peggy Bacon

Dec., 1972 -- 20th Century Americans

Jan., 1973 -- Leonard DeLonga

Feb., 1973 -- Carl Morris

Mar., 1973 -- James Lechay

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

Apr.-May, 1973 -- Jerome Witkin

May-June, 1973 -- Kenneth Evett: Watercolors

Oct.-Nov., 1973 -- Kenneth Callahan

Jan., 1974 -- Joe Lasker

Jan.-Feb., 1974 -- Bernard Arnest

Feb.-Mar., 1974 -- Concetta Scaravaglione

Oct., 1974 -- Ainslie Burke

Oct.-Nov., 1974 -- James Penney

Jan., 1975 -- Tom Hardy

Jan.-Feb., 1975 -- Karl Schrag

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

Mar.-Apr., 1975 -- William Kienbusch

Apr., 1975 -- Elsie Manville

Apr.-May, 1975 -- Gifford Beal

Oct.-Nov., 1975 -- John Hartell

Nov., 1975 -- Daniel O'Sullivan

Mar., 1976 -- Jerome Witkin

May, 1976 -- Linda Sokolowski

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

Oct., 1976 -- Leonard DeLonga

Nov.-Dec., 1976 -- Kenneth Callahan

Jan., 1977 -- James Lechay

Mar., 1977 -- Karl Schrag

Mar.-Apr., 1977 -- David Cantine

Oct.-Nov., 1977 -- John Hartell

Nov.-Dec., 1977 -- Ainslie Burke

Feb., 1978 -- Robert La Hotan

Apr., 1978 -- Elsie Manville

Oct., 1978 -- Tom Hardy

Oct.-Nov., 1978 -- Jerome Witkin

Jan.-Feb., 1979 -- Joe Lasker

Feb., 1979 -- Kenneth Evett

Feb.-Mar., 1979 -- Karl Schrag

Mar.-Apr., 1979 -- Carl Morris

Apr.-May, 1979 -- Linda Sokolowski

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

Feb.-Mar., 1980 -- Kenneth Callahan

Mar., 1980 -- Ainslie Burke

Oct., 1980 -- John Hartell

Jan., 1981 -- Leonard DeLonga

Feb., 1981 -- James Lechay

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

Mar.-Apr., 1981 -- Jerry Atkins

Apr.-May, 1981 -- Ben Frank Moss

Jan.-Feb., 1982 -- Jerome Witkin

Feb.-Mar., 1982 -- Elsie Manville

Mar.-Apr., 1982 -- Karl Schrag

Apr.-May, 1982 -- Linda Sokolowski

May-June, 1982 -- David Cantine

Sept.-Oct., 1982 -- Kenneth Callahan

Oct.-Nov., 1982 -- Joe Lasker

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

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

Feb.-Mar., 1983 -- Jerry Atkins

Mar.-Apr., 1983 -- John Hartell

Apr.-May, 1983 -- John Heliker

May-June, 1983 -- Kenneth Evett

Oct., 1983 -- Concetta Scaravaglione

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

Nov.-Dec., 1983 -- Russell Cowles

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

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

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

Mar., 1984 -- David Smalley

Apr., 1984 -- Carl Morris

May, 1984 -- Karl Schrag

July, 1984 -- Drawings by 20th Century Americans

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

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

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

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

Nov.-Dec., 1984 -- Isabelle Siegel

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

Jan.-Feb., 1985 -- James Lechay

Feb.-Mar., 1985 -- Ainslie Burke

Mar., 1985 -- Karen Breunig

Apr., 1985 -- Kenneth Callahan

Oct., 1985 -- Elsie Manville

Oct.-Nov., 1985 -- William Glackens

Jan.-Feb., 1986 -- Linda Sokolowski

Feb.-Mar., 1986 -- Jerry Atkins

Apr.-May, 1986 -- Jane Wasey

Oct.-Nov., 1986 -- John Hartell

Nov.-Dec., 1986 -- Karl Schrag

Feb.-Mar., 1987 -- Kenneth Evett

Apr.-May, 1987 -- Ben Frank Moss

May-June, 1987 -- David Smalley

Oct.-Nov., 1987 -- Isabelle Siegel

Feb.-Mar., 1988 -- Karen Breunig

Mar.-Apr., 1988 -- Leon Goldin

Sept.-Oct., 1988 -- Elsie Manville

Oct.-Nov., 1988 -- James Lechay

Jan.-Feb., 1989 -- Karl Schrag

Feb.-Mar., 1989 -- Linda Sokolowski

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

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

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

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

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

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

Oct., 1990 -- Isabelle Siegel

Nov., 1990 -- Leon Goldin

Jan.-Feb., 1991 -- Karl Schrag

Feb.-Mar., 1991 -- Joe Lasker

Apr., 1991 -- Ainslie Burke

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

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

Mar., 1992 -- Tabitha Vevers

May-June, 1992 -- Sonia Gechtoff

Oct.-Nov., 1992 -- James Lechay

Nov.-Dec., 1992 -- Karl Schrag

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

Apr.-May, 1993 -- Robert La Hotan

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

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

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

Mar.-Apr., 1994 -- Tabitha Vevers

Oct.-Nov., 1994 -- Linda Sokolowski

Nov.-Dec., 1994 -- Karl Schrag

Jan.-Feb., 1995 -- Langdon Quin

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

Sept.-Oct., 1995 -- Sonia Gechtoff

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

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

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

Mar.-Apr., 1997 -- Tabitha Vevers

Oct.-Nov., 1997 -- James Lechay

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

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

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

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

Nov.-Dec., 1998 -- John Gill

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

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

Nov.-Dec., 1999 -- Kathryn Wall

Jan.-Feb., 2000 -- Elsie Manville

Sept.-Oct., 2000 -- Joe Lasker

Oct.-Nov., 2000 -- James Lechay

Oct.-Nov., 2000 -- Tabitha Vevers

May-June, 2001 -- Kenneth Callahan: Drawings

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

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

undated, 2003 -- Ann Sperry

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

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

Nov.-Dec., 2003 -- Tabitha Vevers

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

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

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

Sept.-Oct., 2005 -- Karl Schrag: The Painter of Bright Nights
Related Material:
An untranscribed oral history interview with Antoinette Kraushaar was conducted for the Archives of American Art by Avis Berman in 1982, and is available on five audio cassettes at the Archives' Washington D.C. research facility.
Separated Material:
In addition to the records described in this finding aid, the following materials were lent to the Archives for filming in 1956 and are available on microfilm reels NKR1-NKR3 and for interlibrary loan: a book of clippings from 1907 to 1930, primarily of exhibition reviews; loose clippings and catalogs of exhibitions from 1930 to 1946; and a group of photographs and clippings relating to George Luks and other artists. These materials were returned to Kraushaar Galleries after microfilming.
Provenance:
53.5 linear feet of records were donated to the Archives of American Art by Kraushaar Galleries in three separate accessions in 1959, 1994, and 1996. Katherine Kaplan of Kraushaar Galleries donated an additional 38.4 linear feet in 2008-2009.
Restrictions:
Use of originals requires an appointment. A fragile original scrapbook is closed to researchers.
Rights:
The Kraushaar Galleries records are owned by the Archives of American Art, Smithsonian Institution. The collection is subject to all copyright laws. Authorization to publish, quote or reproduce from the records requires written permission from: Katherine Kaplan, Kraushaar Galleries, 724 Fifth Avenue, New York, NY 10019.
Topic:
Works of art  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Art, American  Search this
Artists -- United States  Search this
Depressions -- 1929  Search this
Genre/Form:
Photographs
Sketches
Drawings
Exhibition catalogs
Financial records
Notes
Sketchbooks
Citation:
Kraushaar Galleries records, 1877-2006. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kraugall
See more items in:
Kraushaar Galleries records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-kraugall

Margaret Casey Gates papers

Creator:
Gates, Margaret Casey, 1903-1989  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Federal Art Project  Search this
Federal Works Agency  Search this
Phillips Collection  Search this
Phillips Memorial Gallery. Art School  Search this
Clark, Betty Jean  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Fitzpatrick, Daniel Robert, 1891-1969  Search this
Garrett, Alice Warder  Search this
Gates, Robert Franklin, 1906-1982  Search this
Gernand, John, 1913-1990  Search this
Knaths, Karl, 1891-1971  Search this
Lewis, John L.  Search this
Rayford, Julian Lee  Search this
Stieglitz, Alfred, 1864-1946  Search this
Taylor, Prentiss, 1907-1991  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Photographs
Scrapbooks
Writings
Sketchbooks
Date:
1934-1988
Summary:
The papers of Washington, D.C. painter Margaret Casey Gates date from 1934-1988, and measure 1.0 linear foot. Gates' papers document her work as a painter, her projects for the New Deal federal arts programs, the Phillips Memorial Gallery and its art school, where she attended school and later worked as secretary and where her husband Robert Franklin Gates was a teacher, and the Washington, D.C. arts scene. Found are scattered correspondence, seven sketchbooks by Gates and two sketchbooks of her divorced husband Robert Franklin Gates. Miscellaneous notes and writings, a scrapbook, printed material, and photographs of Gates, her husband, friends, artwork, and views of the Virgin Islands are also included in the papers.
Scope and Content Note:
The papers of Washington, D.C. painter Margaret Casey Gates date from 1934-1988, and measure 1.0 linear foot. Gates' papers document her work as a painter, her projects for the New Deal federal arts programs, the Phillips Memorial Gallery and its art school, where she attended school and later worked as secretary and where her husband Robert Franklin Gates was a teacher, and the Washington, D.C. arts scene. Found are scattered correspondence, seven sketchbooks by Gates and two sketchbooks of her divorced husband Robert Franklin Gates. Miscellaneous notes and writings, a scrapbook, printed material, and photographs of Gates, her husband, friends, artwork, and views of the Virgin Islands are also included in the papers.

Twelve folders of scattered correspondence include letters from the Federal Works Agency and one or two letters each from friends and individuals that reflect Gates' wide range of interests and activities. Correspondents include Betty Jean Clark, Arthur G. Dove, D. R. Fitzpatrick, Alice Garrett, John Gernand, Karl Knaths, John L. Lewis, a Brazilian artist named Portinari, Julian Lee Rayford, Alfred Stieglitz, and Prentiss Taylor.

Artwork consists of seven of Margaret Casey Gates' sketchbooks and two of Robert Franklin Gates' sketchbooks of both abstract and figural sketches. Margaret's sketchbooks contain landscapes that illustrate her travels to Colorado, Florida, Maine, Maryland, Utah, Virginia, West Virginia, and the Virgin Islands. Sketchbook #2 contains pencil, ink, and pastel drawings of St. Thomas in the Virgin Islands and an intimate drawing of Robert Franklin Gates, Mitchell Jamieson, and Prentiss Taylor asleep on a ship. Artwork also includes a fine caricature of Robert Franklin Gates by Karl Knaths.

Notes and writings primarily consist of scattered notes and brief descriptive accounts of Gates's experiences at the Phillips Gallery, and at the Colorado Springs Art Center. Her extensive descriptions of her travels to the Virgin Islands are also illustrated.

A scrapbook primarily contains clippings, but also includes an award certificate, letters concerning various topics including Pepsi-Cola's annual art competition and Federal Works Agency projects, brochures for the Phillips Gallery Art School and for the McLean Art Club, and a photograph of the mural at the Mebane, North Carolina post office.

Printed material consists of clippings including copies of the rare magazines The Washington Spectator and the American University publication Right Angle, announcements and catalogs for exhibitions of Gates's work, and miscellaneous booklets and brochures. There is also printed material concerning the Armory Show including a copy of the booklet The Story of the Armory Show by Walt Kuhn.

Photographs are of Margaret Casey Gates, Robert Franklin Gates, friends including Prentiss Taylor, her home, and her artwork. Photographs of Margaret and Robert Gates and their artist friends during their visits to the Virgin Islands in the 1930s are of primary interest, offering unique glimpses of that culture during the 1930s. These photographs include aerial photographs of St. Thomas and photographs by Prentiss Taylor.
Arrangement:
The collection is arranged into 6 series. Each series is arranged chronologically.

Series 1: Correspondence, 1934-1986 (Box 1; 12 folders)

Series 2: Artwork, 1935-1965 (Box 1; 12 folders)

Series 3: Notes and Writings, 1939-1984 (Box 1; 7 folders)

Series 4: Scrapbook, 1938-1961 (Box 1; 3 folders)

Series 5: Printed Material, 1935-1988 (Box 1; 20 folders)

Series 6: Photographs, 1934-1976 (Box 1; 19 folders)
Biographical Note:
Margaret Casey was born in 1903 in the Georgetown section of Washington, D.C. She studied art in the studio of Bertha Perry, and from 1924 to 1926 at the Corcoran Art School. She later studied under Henry Varnum Poor at the Colorado Springs Fine Arts Center.

After working as a commercial artist from 1928-1929, Casey began studying at the Phillips Memorial Gallery in 1931 under C. Law Watkins. There, she met her husband, painter Robert Franklin Gates, and married on January 7, 1933. Robert Franklin Gates (1906-1982), who came to Washington, D.C. in 1930, also studied at the Phillips Gallery Art School and worked with Karl Knaths between 1934 and 1947.

Between 1934 and 1941, Robert Gates, with other artists including Mitchell Jamieson and Prentiss Taylor, made several painting trips to the Virgin Islands on a fine arts commission from the U. S. Treasury Department. Margaret Gates accompanied her husband and produced artwork of her own. She also documented their travels. During this same time, Robert taught at the Phillips Gallery Art School and Margaret was employed as the Art School's secretary. In 1937, they purchased a house in McLean, Virginia where Margaret lived until 1980.

In 1939, Margaret Gates won honorable mention in a national mural competition held by the Section of Fine Arts of the U. S. Public Buildings Administration and was subsequently commissioned by the Federal Works Agency to execute a mural for the Post office at Mebane, North Carolina. The mural was completed and installed in 1941.

During the late 1940s and early 1950s, Margaret Gates wrote articles on art for Washington, D. C. publications including the column "The People vs. Art" for American University's Right Angle, and for the magazine The Washington Spectator.

Margaret and Robert Gates were divorced circa 1955. They had no children.

Margaret Gates exhibited her work in the first exhibition at the National Gallery of Art in 1941, as one of many winners of a national competition sponsored by the Federal Works Agency for artwork to decorate a Marine hospital for lepers in Louisiana. She also exhibited in the "Group Show of Washington Painters" at the Bignou Gallery in New York City, as well as at the Corcoran Gallery of Art, the Philips Collection, the Virginia Museum of Fine Arts, the Cincinnati Art Museum, and the Baltimore Museum of Art. A retrospective of her work was exhibited at the Watkins Gallery of American University in 1981. Several of her paintings are in the collection of the Phillips Gallery.

Margaret Casey Gates died on November 4, 1989, in Mitchellville, Maryland.
Related Material:
Also found in the Archives of American Art are the papers of Gates' divorced husband Robert Franklin Gates dating from 1910-1988.
Provenance:
The Margaret Casey Gates papers were a bequest from Gates' estate in 1994, executed by her niece Joyce D. Svedberg.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Margaret Casey Gates 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:
New Deal, 1933-1939  Search this
Post office buildings -- North Carolina  Search this
Painters -- Washington (D.C.)  Search this
Art teachers -- Washington (D.C.)  Search this
Art, Modern -- 20th century -- Washington (D.C.)  Search this
Women painters -- Washington (D.C.)  Search this
Genre/Form:
Photographs
Scrapbooks
Writings
Sketchbooks
Citation:
Margaret Casey Gates papers, 1934-1988. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.gatemarg
See more items in:
Margaret Casey Gates papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-gatemarg

Arthur and Helen Torr Dove papers

Creator:
Dove, Arthur Garfield, 1880-1946  Search this
Names:
Phillips, Duncan, 1886-1966  Search this
Stieglitz, Alfred, 1864-1946  Search this
Torr, Helen, 1886-1967  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Audiotapes
Photographs
Diaries
Sketches
Date:
1905-1975
Summary:
The papers of artists Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.
Scope and Content Note:
The papers of Arthur and Helen Torr Dove measure 3 linear feet and date from 1905 to 1975, with the bulk of material dating from 1920 to 1946. Arthur Dove's life as an artist, and his life with the artist Helen Torr, are documented in biographical narratives, personal documents, an audio recording, correspondence, diaries, essays, poetry, notes, exhibition catalogs, clippings, magazine illustrations, pamphlets, receipts, an accounting ledger, tax records, sketches, and photographs.

Biographical Materials include a last will and testament, biographical narratives, and other official documents, as well as an audio recording of an interview with William Dove made around 1961 by George Wolfer. Correspondence includes letters from friends, clients, other artists, and Dove's patron Duncan Phillips. There is also correspondence with family members Helen Torr and Paul Dove. Drafts of outgoing letters from Dove to various correspondents including Phillips and Alfred Stieglitz are found.

Writings are extensive and include diaries, autobiographical essays, essays about art, artists, and other subjects, and poetry by Arthur Dove; as well as essays, reminiscences, and notes of Helen Torr. Printed Materials include exhibition catalogs for Dove's shows and the shows of other artists in the Stieglitz Circle, examples of Dove's early magazine illustration work, newspaper reviews of Dove's exhibitions, and various pamphlets related to modern art. Personal Business Records include an accounting ledger of the Doves' expenses, sales receipts, tax records, and an undated art inventory. Artwork consists of ten items, mostly sketches in pencil, watercolor, ink, and colored pencil. Photographs are undated and unidentified, but depict mostly family, homes, and coastal scenes.
Arrangement:
The collection is arranged into 7 series:

Series 1: Biographical Materials, 1928-1937, circa 1961 (Box 1; 2 folders)

Series 2: Correspondence, circa 1920-1974 (Box 1; 0.8 linear feet)

Series 3: Writings, circa 1924-1945 (Boxes 1-3; 1.5 linear feet)

Series 4: Printed Materials, circa 1905-1975 (Box 3; 0.3 linear feet)

Series 5: Personal Business Records, circa 1921-1965 (Box 3; 0.3 linear feet)

Series 6: Artwork, undated (Box 3; 1 folder)

Series 7: Photographs, 1909, undated (Box 3; 4 folders)
Biographical Note:
Arthur Garfield Dove was an early twentieth-century painter, collagist, and illustrator who was one of the first American artists to embrace abstraction in art. He was a part of Alfred Stieglitz's Circle of modern American artists introduced at Stieglitz's 291 Gallery along with John Marin and Georgia O'Keeffe. Dove spent his career developing his own idiosyncratic style of formal abstraction in painting based on his ideas about nature, feeling, and pure form, and characterized by experimentation with color, composition, and materials.

Born in Canandiagua, NY in 1880, Dove grew up in the small, rural town of Geneva, NY. He was first exposed to art by a local farmer and painter named Newton Weatherly, who gave him canvas and paint, and who Dove himself cited as an early influence. Dove went to Cornell University to study law, but soon shifted to art and illustration. He graduated in 1903 and quickly became a success as a magazine illustrator, working for Collier's, McClure's, St. Nicholas, and The Illustrated Sporting News, among other publications. In 1904, he married Florence Dorsey, a Geneva woman, and they lived in New York City. Their son, William Dove, was born in 1910.

In 1908 the couple traveled to Paris to enable Dove to pursue his interest in painting. In Paris, he met Alfred Maurer, Jo Davidson, and other American artists living abroad. The influence of his European and expatriate contemporaries would prove to be a lasting one, exposing him to ideas about abstraction and experimentation that he would develop in his work for the rest of his life.

Soon after Dove's return to the United States, he met Alfred Stieglitz and began a lifelong friendship. Stieglitz ran the Little Galleries of the Photo-Secession, which came to be known as 291, in New York. His daring, avant-garde exhibitions of both European and American modern art at 291 provided a venue and gathering-place for progressive American artists that was unique for its time. Dove's first solo exhibition at 291 was held in 1912, and consisted of ten pastel drawings that have come to be known as the "Ten Commandments." The attention it received established Dove as a prominent abstract painter.

Around 1920, Dove met another Westport artist named Helen S. Torr, also known as Reds. A Philadelphia-born painter who had studied at the Pennsylvania Academy of Fine Art, Reds was married at the time to the cartoonist Clive Weed. Torr and Dove eventually left their unhappy marriages and began a life together, moving to a houseboat docked in Manhattan. In 1922, they moved to Halesite, Long Island, New York, where Dove's artwork once again flourished. By the mid-1920s, he was exhibiting regularly, paralleled by the rise of Stieglitz's new Intimate Gallery in 1925. His work continued to explore abstraction and organic forms, and, in addition to paintings, he produced assemblages made of found materials.

Although a building teardown brought the Intimate Gallery to a sudden end in 1929, the financial support of friends enabled Alfred Stieglitz to open An American Place soon thereafter. There Stieglitz would focus on the work of a few American artists, including Dove, John Marin, and Georgia O'Keeffe. Helen Torr was also exhibited at An American Place, in a group show with Arthur in 1933. It was also at this gallery that the art collector Duncan Phillips was introduced to Dove's artwork. Phillips' interest in Dove grew into an ongoing patronage of Dove that would see them through the Depression and periods of serious illness in the 1930s and 1940s. Their arrangement, whereby Phillips had first refusal on all of Dove's new artwork, enabled him to gradually assemble the largest collection of Dove's work held anywhere.

In 1938, while on a trip to New York to attend his exhibition, Dove became suddenly ill. Although he recovered somewhat that year, his health never entirely returned to normal, and he spent long periods during what remained of his life housebound and in a wheelchair. He and Reds bought a home in Centreport, on Long Island, where they would stay the rest of his life. In 1939 he was so ill that neither his family nor Stieglitz thought he would ever paint again. Despite his physical limitations, he continued to work, turning to the less physically strenuous media of drawing and watercolor, and produced new work for five solo exhibitions in the 1940s. His work of this period embraces pure abstraction more fully than ever, and is regarded by some to be a culmination or crystallization of his singular style and approach to abstract painting.

Arthur Dove suffered a stroke in 1946 and died that November, just four months after his lifelong friend and mentor Alfred Stieglitz died of a heart attack. Reds lived until 1967 in their Centreport home. Dove's importance to American art has since been recognized with more than a dozen retrospective exhibitions at major museums and galleries.

This biography relied heavily on the monograph Arthur Dove: Life and Work, with a Catalogue Raisonné (1984) by Ann Lee Morgan.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming. Reel 725 contains Arthur Dove's letters from Alfred Stieglitz (1918-1946) and Georgia O'Keeffe (1921-1948), and two letters from William Einstein (1937). The original letters were later donated to the Beinecke Library at Yale University, which holds the Stieglitz/O'Keeffe Archives. Reel 2803 contains photocopies of Arthur Dove's card catalog of paintings that were discarded after microfilming. This material is not described in the collection container inventory.
Provenance:
The papers of Arthur and Helen Torr Dove were loaned to the Archives of American Art by Arthur Dove's son, William Dove, for microfilming in several increments between 1970 and 1975. The papers were later donated to the Archives by William Dove via the Terry Distenfass Gallery of New York City in multiple accessions between 1982 and 1989, with two major exceptions: 177 letters from Alfred Stieglitz, sixteen letters from Georgia O'Keeffe, and two letters from William Einstein; and Arthur Dove's card catalog of paintings, a photocopy of which had been loaned for microfilming. The papers were digitized in 2006.
Restrictions:
The collection is open for research. Microfilmed and digitized portions must be consulted on microfilm or the Archives website. Use of unmicrofilmed, undigitized portion requires an appointment.
Rights:
The Arthur and Helen Torr Dove 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:
Women painters -- New York (State)  Search this
Painters -- New York (State)  Search this
Collagists -- New York (State)  Search this
Works of art  Search this
Genre/Form:
Audiotapes
Photographs
Diaries
Sketches
Citation:
Arthur and Helen Torr Dove papers, 1905-1975. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.dovearth
See more items in:
Arthur and Helen Torr Dove papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-dovearth
Online Media:

Gifford Beal sketches, sketchbooks, and papers

Creator:
Beal, Gifford, 1879-1956  Search this
Names:
Federal Art Project  Search this
Beal, Maud Ramsdell  Search this
Bruce, Edward, 1879-1943  Search this
Cox, Edward  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Kent, Rockwell, 1882-1971  Search this
Pennell, Joseph, 1857-1926  Search this
Rowan, Edward Beatty, 1898-1946  Search this
Watson, Forbes, 1880-1960  Search this
Wortman, Denys, 1887-1958  Search this
Extent:
7.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketchbooks
Sketches
Travel diaries
Love letters
Drawings
Prints
Diaries
Paintings
Photographs
Date:
1889-2001
bulk 1900-1954
Summary:
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:

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 Gifford Beal sketches, sketchbooks, and 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:
Drawing -- Technique  Search this
Painters -- New York (State)  Search this
Mural painting and decoration -- 20th century -- Pennsylvania -- Allentown  Search this
Muralists -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Sketchbooks
Sketches
Travel diaries
Love letters
Drawings
Prints
Diaries
Paintings
Photographs
Citation:
Gifford Beal sketches, sketchbooks, and papers, 1889-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.bealgiff
See more items in:
Gifford Beal sketches, sketchbooks, and papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-bealgiff
Online Media:

Charles Sheldon Papers

Vendor:
Kuenzig Books  Search this
Creator:
Sheldon, Charles Gates, 1899-1960  Search this
Breck Company.  Search this
Extent:
3.5 Cubic feet (3 boxes, 1 oversize folder)
Type:
Collection descriptions
Archival materials
Pastels (visual works)
Drawings
Business records
Advertisements
Photographs,
Appointment books
Newsletters
Yearbooks
Magazines (periodicals)
Theater programs
Date:
1902-1959
Scope and Contents:
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.
Topic:
Commercial art  Search this
Beauty culture  Search this
Feminine beauty (Aesthetics)  Search this
advertising  Search this
Genre/Form:
Pastels (visual works)
Drawings
Business records -- 20th century
Advertisements -- 20th century
Photographs, -- Black-and-white photoprints -- 1930-1960
Appointment books -- 1930-1940
Newsletters -- 20th century
Yearbooks -- 20th century
Magazines (periodicals) -- 20th century
Theater programs -- 20th century
Citation:
Charles Sheldon Papers, 1902-1959, Archives Center, National Museum of American History
Identifier:
NMAH.AC.1423
Archival Repository:
Archives Center, National Museum of American History
EDAN-URL:
ead_collection:sova-nmah-ac-1423

Catalogue of the Twelfth annual exhibition : March 19 thru April 8, 1939

Creator:
Boston Society of Independent Artists  Search this
Physical description:
(12 p.)
Type:
Archival materials
Date:
1939
Local number:
AAA
Restrictions & Rights:
Patrons must use microfilm copy
See more items in:
Miscellaneous art exhibition catalog collection 1887-1934 bulk 1915-1925
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:siris_arc_215401

Municipal Art Gallery exhibition catalogs, 1922-1923

Creator:
Municipal Art Gallery (New York, N.Y.)  Search this
Subject:
Association for Culture  Search this
Physical description:
2 items
Type:
Archival materials
Date:
1922
1922-1923
Local number:
AAA
Restrictions & Rights:
Patrons must use microfilm copy
See more items in:
Miscellaneous art exhibition catalog collection 1887-1934 bulk 1915-1925
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:siris_arc_215500

Engineers' Mess at Beaumont

Associated person:
Dunn, Harvey Thomas  Search this
Artist:
Dunn, Harvey Thomas  Search this
Physical Description:
charcoal (overall production method/technique)
pastel (overall production method/technique)
paper (overall material)
Measurements:
drawing with frame: 24 in x 30 1/8 in; 60.96 cm x 76.5175 cm
drawing without frame: 16 5/8 in x 22 3/8 in; 42.2275 cm x 56.8325 cm
Object Name:
Drawing
Place made:
France
Depicted:
France: Hauts-de-France, Département de la Somme
Date made:
1918
Associated date:
1917 - 1918
Related event:
World War I  Search this
Credit Line:
Mrs. Harvey Dunn
ID Number:
AF.67657M
Catalog number:
67657M
Accession number:
229290
See more items in:
Political and Military History: Armed Forces History, Military
Military
Art
Data Source:
National Museum of American History
GUID:
http://n2t.net/ark:/65665/ng49ca746a2-81d6-704b-e053-15f76fa0b4fa
EDAN-URL:
edanmdm:nmah_447422

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