The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
Scope and Content Note:
The Zorach family papers measure 4.4 linear feet and consist of materials relating to the lives and careers of sculptor and painter William Zorach, his wife painter and weaver Marguerite, and their children, painter and multi-media artist Dahlov Ipcar and collector and art dealer Tessim Zorach. The bulk of the papers consists of letters to Tessim regarding his parent's artwork. Additional materials include scattered letters to William Zorach; writings and notes by William, Marguerite, and Tessim; a sketchbook and drawings by William; prints by Marguerite; Marguerite's scrapbook; printed materials; and photographs of the Zorach family and of William Zorach in his studio and at work.
The majority of correspondence is between Tessim Zorach and various museums and galleries concerning exhibitions and donations of his parents' works of art. There are scattered letters to William Zorach among the correspondence. Business records consist of materials relating to the Collection of the Zorach Children, including lists of works of art by the Zorach's, a file relating to an exhibition of Zorach artwork at the Brooklyn Museum, and photographs of works of art considered for donation.
Writings and Notes include a typescript of an article written by Marguerite Zorach, writings by William Zorach, a typescript of Young Poems by William and Marguerite, as well as articles written by others about the Zorachs. Artwork by Marguerite Zorach includes two prints and a tracing. Also found is one sketchbook, and additional drawings by William Zorach. There is one unsigned lithograph.
The majority of exhibition announcements, catalogs, and clippings concern William and Marguerite Zorach although there are two announcements for Dahlov Ipcar. There is one scrapbook of clippings about Marguerite.
The papers include photographs of Marguerite and William Zorach, their parents, baby photos of Tessim and Dahlov, family pictures of the Zorachs, and of Marguerite and William in their studios. There are several folders of William Zorach working in his studios and additional photos of him carving a relief sculpture and a sculpture for the Southwest Bank. Most of these photographs contain detailed annotations written by William Zorach about the work. There is one folder of photographs of William in France in 1910-1911, including one of Zorach in Roi Partridge's studio. There is one photograph of Zorach taken by Ansel Adams in Yosemite, a photo of Zorach working by Arnold Newman, and several taken by Imogen Cunnigham.
Other photographs are of works of art, most of which depict William's works.
Artifacts include Marguerite's batik tools and approximately fifty commercially made printing blocks.
Arrangement:
The collection is arranged into 9 series:
Missing Title
Series 1: Biographical Information, circa 1907-1969 (Box 1, 6; 3 folders)
Series 2: Correspondence, 1922-1982 (Box 1-2; 1.75 linear feet)
Series 3: Business Records, 1967-1971, circa 1960s-1970s (Box 2-3; 0.3 linear feet)
Series 4: Writings and Notes, circa 1930s-1973, 1987 (Box 3; 8 folders)
Series 5: Artworks, 1900-circa 1920s (Box 3, 6; 12 folders)
Series 6: Scrapbooks, 1922-1953 (Box 3; 1 folder)
Series 7: Printed Material, 1912-1982 (Box 3; 0.25 linear feet)
Series 8: Photographs, 1908-1966 (Box 3-5; 1.0 linear feet)
Series 9: Artifacts, circa 1910s, circa 1950s (Box 4; 0.5 linear feet)
Biographical Note:
William Zorach (1887-1966) was a modernist painter and sculptor working primarily in New York city, along with his wife Marguerite (1887-1968) who worked as a fauvist painter, printmaker, and textile artist. Their children were painter Dahlov Ipcar (1917-) and art collector Tessim Zorach (1915-1995.)
Born in Lithuania, William Zorach immigrated to the United States where his family settled in Cleveland, Ohio. An early interest in art led to a printmaking apprenticeship. He then moved to New York City and enrolled in the National Academy of Design where he studied painting and drawing. In 1910, Zorach traveled to Paris to study and where he met his wife Marguerite Thompson at the La Palette art school. Marguerite grew up in Fresno, California and studied art at Stanford University. Both artists were heavily influenced by the fauvist and cubist art movements.
Returning to America, Marguerite and William married and both continued to create and experiment with varied media. Their paintings were featured in the 1913 New York City Armory Show and they are credited with being among the first artists to introduce European modernist styles to American modernism. The Zorachs were very close both as a couple and as working active artists.
In the 1920s, Marguerite began to experiment with textiles and created large, fine art tapestries and hooked rugs. Also, she used batik dying techniques on fabrics. William also expanded his genre by creating direct sculpture in 1918, which would become his primary medium.
In 1915, William and Marguerite started a family with their son, Tessim. Two years later, their daughter Dahlov was born. The Zorachs divided the year and lived in New York City, New Hampshire, and Massachusetts. In 1923, the family bought a farm on Georgetown Island, Maine where they lived, worked, and entertained friends.
Dahlov and Tessim were exposed to art from an early age. Dahlov showed artistic promise as a child and her parents supported her creativity by allowing her to express herself without formal training. Dahlov pursued painting and later became an illustrator for children's books. Additionally, she wrote fantasy novels and short stories. Dahlov married Adolf Ipcar in 1936. Like the rest of his family, Tessim Zorach developed an interest of art and along with his wife Peggy, he amassed a large private collection of ancient to modern art.
William and Marguerite continued to sculpt and paint until their deaths in 1966 and 1968, respectively.
Together, Dahlov and Tessim established the Collection of the Zorach Children which coordinated donations of their parents' art to many museums throughout the United States and the world. The artwork of both artists is found in the collections of the Metropolitan Museum of Art, Brooklyn Museum, Whitney Museum of American Art, Delaware Art Museum, Museum of Fine Arts, Boston, Farnsworth Art Museum, Portland Museum of Art, National Gallery of Art, National Portrait Gallery and the Smithsonian American Art Museum, The Philips Collection, and educational institutions such as Colby College, University of Vermont, Williams College, Bowdoin College, and the University of Virginia. In addition William has works associated with many public buildings, among them: Radio City Music Hall, New York City Municipal Court, the U.S. Post Office in Washington D.C. as well as Farleigh Dickinson University.
Related Material:
The Archives of American Art holds the Dahlov Ipcar papers, 1906-1997. Also found is one oral history interview with William Zorach conducted by by John D. Morse on April 2, 1959 and an oral history interview with Dahlov Ipcar conducted by Robert F. Brown on November 13, 1979.
The bulk of William Zorach's papers are held by the Library of Congress.
Separated Material:
The Archives of American Art also holds material lent for microfilming on reels NY59-1-NY59-4 and NY59-19. Loaned materials were returned to the lender and are now held by the Library of Congress, Manuscript Division. This material is not described in the collection container inventory or finding aid.
Provenance:
William Zorach lent papers for microfilming to the Archives of American Art in 1959. Tessim Zorach donated materials between 1976-1987.
Restrictions:
Use of originals requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art dealers -- New York (State) -- New York Search this
Painters -- New York (State) -- New York Search this
Sculptors -- New York (State) -- New York Search this
Burchfield, Charles Ephraim, 1893-1967 Search this
Extent:
2 Items (sound cassettes (2 hrs.), analog.)
66 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
1994 November 30-1995 August 27
Scope and Contents:
An interview with Robert Blair conducted 1994 November 30-1995 August 27, by Robert Brown, for the Archives of American Art.
Blair talks about his father, a Vermonter, who went to Harvard Law School and became a corporation lawyer in Buffalo, and his mother, a Rochester, New York native, who went to Cornell and taught Greek and Latin in New York State schools before marriage; being an indifferent student until he went to the Albright Art School in Buffalo, although instruction there was perfunctory; attending the School of the Museum of Fine Arts, Boston (1931-1934), recalling especially his two British drawing teachers, Guthrie and Burns, and Frederick Allen who taught sculpture, and fellow student, Carl Johnson, summers with his family in Vermont and the pleasant primitive farm life; his first teaching job -- Saturday children's classes at the Buffalo Museum of Science and his first exhibitions in Buffalo and New York City, including a show at the Morton Gallery, New York (1940) from which the Metropolitan Museum purchased a large watercolor; his love of using unusual implements to paint with; his service in World War II, in which he was assigned to design training aids and to paint war scenes.
Blair continues discussion of his service as an airborne soldier and artist in Belgium and Germany during World War II; returning from the War to direct the Arts Institute of Buffalo and his long friendship with Charles Burchfield; Philip Elliott, painter and teacher at the rival Albright Art School in Buffalo; traveling throughout the US and Mexico, painting wherever he camped; his work and proficiency in watercolor; and the value of figure studies, which he does regularly with other artists.
Biographical / Historical:
Robert Blair (1912-2003) is a painter, printmaker, and instructor of Buffalo, New York.
General:
Originally recorded 2 sound cassettes. Reformatted in 2010 as 8 digital wav files. Duration is 2 hr., 30 min.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This transcript is open for research. Access to the entire audio recording is restricted. Contact Reference Services for more information.
Occupation:
Art teachers -- New York (State) -- Buffalo -- Interviews Search this
An interview of Edward Landon conducted 1975 Apr. 17-May 28, by Robert Brown, for the Archives of American Art.
Landon speaks of working with the local theater in high school; leaving Hartford at age 17 or 18 for Greenwich Village in New York and the Art Students League; studying figure drawing with George Bridgman; getting married and moving to Springfield, Mass.; exhibiting with the Springfield Art League; the Artist Union and the Artist Congress in the 1930s; spending a summer with Georgia O'Keeffe and Paul Strand in Taos, N.M.; the cooperation amongst artists that lasted into the 1950s to establish serigraphs as an American fine art print medium; when he received the Solomon Guggenheim Scholarship for Non-objective Art in 1939; when he made furniture and picture frames and the publishing of his book on making picture frames in 1946; when he began working as an easel painter in the Massachusetts Federal Art Project of the WPA in 1933; becoming president of the Western Chapter of the Artists Union in 1934; when he corresponded and visited Arthur Dove; his friendship with Elizabeth McCausland; his introduction to Harry Gottlieb and silk screen printing; the love of color and currently trying for emotional effects in his work; initiating silk screen exhibitions in the Springfield Museum; the beginning of the National Serigraph Society and his work as the exhibition secretary; his teaching approach; the first class held in his garage with fellow artists; more on his relationship with Elizabeth McCausland; Arthur Dove's influence on a recent painting Landon finished; his trip to Taos in 1930 and the importance of artist colonies for him early on; the feeling of not having roots, but being comfortable with the idea; the purpose of the National Serigraph Society; his feelings about printmakers moving away from traditional printing; organized exhibitions for the United States Information Service; his enjoyment in organizing things; the commercialization of creating "prints;" how photo-realism does not translate well in the print medium; the importance of trying to convey an idea in his work; his success in covering small boxes, address books and other items, as well as book binding; his preference for printing small editions of 25 to 35 prints; of a description of his method of printing; his Fulbright Fellowship in 1950 to travel to Norway and lecture; an interest in early Scandinavian art; publishing a silkscreen portfolio of pre-Viking art for the American Scandinavian Foundation; traveling through Europe; his influence as an innovator in France and Scandinavia; meeting with silk screen artists in Oslo; art forms in his work at this time; his inclusion in "Who's Who in American Art;" the avoidance of art movements; how by the 1950s the reason for the National Serigraph Society no longer existed because the medium was popular by that time; his move to Vermont in 1957 or 1958; work as a color mixer, book binder, and returning to framing because of health reasons; his second illness changing what he found important in his life; and how the content of his work became more emotional. Landon also recalls Louie Lozowick, Gertrude Stein, Marian Hughes, Elizabeth Olds, John Marin, Alfred Stieglitz, Berenice Abbott, Marvo Perry, Hilla Rebay, Sir William T. Rogers, Max Weber, Dennis Hartley, Alfred Maurer, Bernie Sabbath, and Henry Mark.
Biographical / Historical:
Edward Landon (1911-1984) was a printmaker from Weston, Vt.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 2 digital wav files. Duration is 1 hr., 39 min.
Provenance:
These interviews are part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and others.
Project and professional files include documentation of a wide variety of printing and publishing projects, professional activities, as well as a few administrative and business activities. Material relating to book projects and printmaking activities include correspondence, agreements, inventories, writings, and mock-ups. Several files relate to the establishment and administration of the Robert Blackburn Printmaking Workshop. Barnet's professional activities in numerous organizations and institutions including the Academy of Arts and Letters, Art Students League, Century Association, College Art Association, Lotos Club, National Academy, and National Arts Club are documented through correspondence, meeting minutes, reports, and other administrative records. Correspondence pertaining to Barnet's participation in panels, lectures, and appearances are also among the professional files. The administrative and business activities documented include copyright, reproduction requests, recommendations, and donations. Information regarding various teaching positions can be found in the Pennsylvania Academy of the Fine Arts, Vermont College, and Teaching Files folders. Born digital material includes a book for new members of the Century Association, as well as documents and photographs pertaining to the National Academy Gala. One item, a book about the history of Barnet's birth place, Beverly, Massachusetts, dates from 1897.
Collection Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Will Barnet papers, 1897, 1929-2016. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art. Funding for the preservation and transfer of motion picture film was provided by the Smithsonian Women's Committee.
The papers of painter George Tooker measure 5.1 linear feet and date from circa 1851 to 2010. The papers document Tooker's personal and professional life through biographical material, correspondence, project files, gallery files, exhibition files, printed material, artwork and one sketchbook, and numerous photographs, including some taken by noted photographer George Platt Lynes.
Scope and Contents:
The papers of painter George Tooker measure 5.1 linear feet and date from circa 1851 to 2010. The papers document Tooker's personal and professional life through biographical material, correspondence, project files, gallery files, exhibition files, printed material, artwork and one sketchbook, and numerous photographs, including some taken by noted photographer George Platt Lynes.
Biographical material consists of membership and travel documents, writings on and by Tooker on his circle, an address book, resume, and papers regarding Tooker's education. Also included are biographical material related to Tooker's partner William Christopher who passed in 1973. A 1978 interview with Vermont Public radio on two sound reels is also featured.
Correspondence is with friends, colleagues, and organizations. Correspondents include Isabel Bishop, Paul Cadmus, Walter Bachinski, William Christopher, Otto Dix, Jared and Margaret French, Ralph Ginzburg, Xavier Gonzalez, Robert Isaacson, Edward Laning, Lincoln Kirstein, Lee Nordness, Bernard Perlin, Joan Peterson, Theodore Stamos, Bridget Tichenor, and others. Also included are family correspondence and correspondence regarding the Estate of William Christopher.
Project files document Tooker's commissions including the set and costume design for Gian-Carlo Menotti's opera The Saint of Bleecker Street and Tooker's participation in the selection of candidates for the Vestris Prize for Choreography. Files contain correspondence, business documents, printed ephemera, sketches, photographs, three volumes of vocal scores, and textile samples.
Gallery records include business correspondence and consignments with various key galleries in Tooker's career spanning the 1960s to the end of his career including D.C. Moore Gallery, Marisa Del Re Gallery, and Durlacher Bros..
Exhibition records include documents regarding the organization of several select exhibitions in Tooker's career incuding an early retrospective at the Fine Arts Museums of San Francisco (1974) and a later traveling retrospective from 2008-2009.
Printed material consists of invitations, press releases, news clippings and exhibition catalogs documenting the careers of both George Tooker and William Christopher.
Artwork includes numerous sketchbooks, loose drawings, and sketches from Tooker's studies at the Art Students' League in the mid 1940s, in addition to an early ex-libris print created by Tooker in his youth. Also included is a sketchbook by William Christopher, as well as a study for the work The Subway, in the collection of the Whitney Museum of American Art.
Photographic materials depict Tooker's family life as well as his early artistic collaborations depicted in a number of black and white photographs taken by George Platt Lynes and PaJaMa in the mid to late 1940s. A majority of the photographs depict artists and friends, among them: George Tooker and his companion William Christopher, Paul Cadmus, Jared and Margaret French, Lincoln and Fidelma Kirstein, Glenway Wescott, Monroe Wheeler, and Bridget Tichenor. Other photographs are of Tooker building his home, gardening, and working in his studio in Hartland, Vermont. Also included are installation views from the exhibition Painting in the United States (1949) at the Carnegie Institute in Pennsylvania. There are also a fair amount of photographs, transparencies, slides and negatives documenting artwork from both the studios of George Tooker and his late partner William Christopher.
Arrangement:
The collection is arranged as 8 series.
Missing Title
Series 1: Biographical Material, circa 1920-2005 (0.7 linear feet; Boxes 1, 5)
Series 2: Correspondence, circa 1932-2010 (1.2 linear feet; Boxes 1-2, Oversize 7)
Series 3: Project Files, circa 1935-1968 (0.3 linear feet; Boxes 2-3, 6)
Series 4: Gallery Records, circa 1960-2009 (0.3 linear feet; Box 3)
Series 5: Exhibition Files, circa 1967-2009 (0.3 linear feet; Boxes 1, 3)
Series 6: Printed Material, circa 1851-2010 (0.5 linear feet; Boxes 3, 5)
Series 7: Artwork and Sketchbook, circa 1932-2009 (0.7 linear feet; Boxes 3, 5, 8)
Series 8: Photographs, circa 1900-2010 (1.1 linear feet; Boxes 4-5, 8)
Biographical / Historical:
George Tooker (1920-2011) was a painter based in Hartland, Vermont and New York, New York. Tooker was born in Brooklyn, New York on August 5, 1920 to George Clair Tooker and Angela Montejo Roura. He graduated from preparatory school at Phillips Academy, Andover in 1938 and received a Bachelor of Arts in English from Harvard University in 1942. Tooker studied drawing and painting under Reginald Marsh, Kenneth Hayes Miller, and Harry Sternberg at the Art Students' League from circa 1944 to 1945.
Tooker became acquainted with American painter Paul Cadmus while studying at the Art Students' League. Cadmus introduced Tooker to a circle of artists and writers living and working in New York and Europe in the mid to late 1940s that included George Platt Lynes, Jared and Margaret French, Monroe Wheeler, Glenway Westcott, and Lincoln and Fidelma Kirstein. He lived and worked with his partner and fellow artist William Christopher in New York City and later Hartland, VT.
In 1953, Tooker was commissioned by writer and philanthropist Lincoln Kirstein to design the sets and costumes for The Saint of Bleecker Street, an opera by Gian-Carlo Menotti. In 1966, the Wasemquia Charitable Trust sponsored the Vestris Prize for Choreography in cooperation with the Boston Ballet Company and Tooker was invited by trustee Henry H. Crapo to participate on the Committee of Judges for the Vestris Prize. In 1968, NASA commissioned Tooker to produce drawings and one painting documenting the development of spacecraft at the Goddard Space Flight Center located in Greenbelt, Maryland.
Tooker's paintings are found in numerous art museums and galleries including the Whitney Museum of Art, Metropolitan Museum of Art, Museum of Modern Art, DC Moore Gallery, Robert Isaacson Gallery, and the Venice Biennale. In 1968, Tooker's paintings were featured in the art magazine, Avant-Garde.
Related Materials:
Available in the Archives of American Art is an oral history interview with George Tooker conducted in 1966 by Grace G. Alexander for radio station WNYC, New York City.
Materials related to the George Tooker papers can be found the William Christopher papers at the Archives of American Art.
Provenance:
George Tooker donated his papers to the Archives of American Art in 1973. A subsequent addition was donated in 2018 by Aaron Watkins, the executor to George Tooker's estate.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
99 notebooks with notations and sketches, 1939-1976; photographs of Peck, his family, his models and his work; correspondence; exhibition catalogs and announcements; press releases; clippings and a scrapbook of clippings.
Biographical / Historical:
Painter, illustrator, cartoonist, etcher, draftsman, teacher, and art school director; Proctor, Vt.
Provenance:
The donor, Roberta B. Palmer, is a friend of Peck.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
This series consists of letters exchanged between Lazzari, family members, and colleagues. Over one hundred letters from the Federal Works Agency and the Treasury Department Section of Painting and Sculpture concern post office murals for towns in Florida, New Jersey, and North Carolina. Five letters from the National Aeronautics and Space Administration contain 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon. Lazzari also received at least one letter each from Jacqueline Kennedy, Duncan Phillips, Eleanor Roosevelt, industrialist John Rust, and socialist Norman Thomas.
See Appendix for a list of selected correspondents in Series 2.
Arrangement note:
Correspondence is arranged chronologically.
Appendix: Selected Correspondents in Series 2:
Aguilera, Francisco: undated (1 letter)
Albergo Saturnia, Rome: 1928 (1 letter)
Alberts: Russell Alberts-Laura Langdon Antiques: undated (1 letter)
Alexander Gallery: undated (1 letter)
Allied Publications, Inc.: 1965 (1 letter)
Alterman, Selma: undated (1 letter)
Ambasciata d'Italia: 1950-1973 (3 letters)
Ambasciatore d'Italia: undated and 1971 (2 letters)
America-Italy Society: 1956 (1 letter)
American Academy in Rome: 1955 (2 letters)
American Artists Professional League: 1949-1955 (3 letters)
American Battle Monuments Commission: 1959 (1 letter)
American Commission for Cultural Exchange with Italy (Fulbright grant): 1950-1954 (2 letters)
American Federation of Arts: 1951-1956 (2 letters)
American Red Cross: 1943-1945 (6 letters)
American University: 1947-1967 (5 letters)
Amici, Alfredo: 1948-1959 (6 letters)
Amministrazione Erdi M.se Saverio Patrizi: 1969 (2 letters)
Andori, Adolfo: 1913-1916 (3 letters)
Anderson, Wayne V.: 1956 (1 letter)
Andrade, Victor: undated (1 letter)
Angelelli, Augusta: 1972 (1 letter)
Angiolillo, Giuseppe: 1967-1972 (9 letters)
Anson, Cherrill: 1998 (1 letter)
Appleby, J. Scott: 1952-1961 (9 letters); see Life Insurance Company of Georgia
Aquil, Preta: 1921 (1 letter)
Architectural League of New York: 1955 (3 letters)
Aristide, Zio (?): 1926 (1 letter)
Arndal, Kersten: 1970-1977 (2 letters)
Art Direction -- magazine: 1956 (1 letter)
Art in Federal Buildings, Inc.: 1943 (1 letter)
Art Institute of Chicago: 1944-1956 (11 letters)
Artists Equity Association: undated and 1949-1972 (7 letters)
Artists for Victory: 1942-1943 (7 letters including a prospectus for "America in the War" exhibition)
Conant, Howard (New York University): 1956 (1 letter)
Connolley, Robert Emmet: 1947-1950 (8 letters)
Console Generale d'Italia: 1965 (1 letter)
Constantino, C.: 1967 (1 letter)
Cook, Elizabeth: [1946] (1 letter)
Cooke: Hereward Lester Cooke Foundation: 1974-1975 (3 letters); see National Aeronautics and Space Administration; see National Gallery of Art
Cooper, Alice J.: 1927 (1 letter)
Corcoran Gallery of Art: undated and 1951-1981 (37 letters)
Corsi, Emma and W. Edward: 1928 (1 letter)
Cosgrove, Jessica (Mrs. John O'Hara Cosgrove): 1928-1930 (22 letters)
Cosgrove, John O'Hara (editor of -- New York World): -- undated and 1927-1929 (7 letters)
Costintin, Celestino and Emilia: 1916-1971 (6 letters)
Cotzia, Pasquale: 1966-1968 (2 letters)
Coughlin, Clarence John: 1948 (1 letter)
Crimi: undated (1 letter)
Crosby, Caresse (Crosby Gallery of Modern Art): undated and 1945-1969 (14 letters)
Crossley, Kay A.: 1966 (1 letter)
Cullen, Amelia: undated (1 letter)
Cusumono, Stefano: 1947-1951 (3 letters)
Daloni, Edith B.: 1928 (1 letter)
Damer, Veffarghi: 1919 (1 letter)
Damiani, Angelo: 1921 (1 letter)
Dane, C. K.: 1965 (1 letter)
Dean, Edward: 1940 (1 letter)
Debs: Eugene V. Debs Foundation: 1965-1966 (3 letters including 6 photographs with Norman Thomas); see United Auto Workers
de Chetelat, Mr.: mentioned in letter dated 1928
de Chirico, Giorgio: mentioned in undated invitation from Ambasciatore d'Italia
DeLano, Agnes: undated (1 letter)
De Medio, Americo: 1963-1976 (32 letters)
De Medio, Vincenzo: undated and 1970-1977 (3 letters)
Demiddi, Alberto: undated and 1972 (3 letters)
De Mont, Nany and Eugene: undated (1 letter)
Dernay, Eugene: 1945-1959 (4 letters)
Design in Steel Award Program: 1972 (1 letter)
Dictionary of International Biography: 1974 (1 letter)
Diller, Burgoyne: see Federal Art Project
Dipanfilo, Pio: 1949-1968 (10 letters)
Di Raimondo, Vicenzo: 1920-1928 (7 letters)
District of Columbia Board of Commissioners: 1959 (1 letter)
District of Columbia Department of Public Welfare: 1958 (1 letter)
District of Columbia Juvenile Court: 1964 (1 letter)
District of Columbia Recreation Board: 1963 (1 letter)
Dole (?), Louis: 1923 (1 letter)
Dollinger, Josef: undated (1 letter)
Donaldson, Leota L.: undated (2 letters)
Donaldson, Renee: undated (1 letter)
Douglas, Paul F.: 1951 (1 letter)
Dretzin, S. C.: 1950 (1 letter)
Draper, Warren A.: 1944 (1 letter)
Dumbarton College: 1949-1951 (3 letters)
Duncan and Duncan Chinese Shop: 1964 (1 letter)
Dunham, Dr. G. C.: 1944 (1 letter re: portrait of Dr. Sawyer)
Duproix, Eunice: 1928 (1 letter)
Durbin, Jack: 1960 (1 letter)
Editions du Griffon, Neuchatel, Suisse: 1964 (3 letters)
Edsor, Mary: 1928 (1 letter)
Elenbrock, Gretel: 1927 (3 letters)
Elkins: Stella Elkins Tyler School of Fine Arts of Temple University: 1956 (1 letter)
Eng, Ernest: 1959 (1 letter)
Ernesto Desideri: 1915 (3 letters)
Evening Star -- newspaper, Washington, D.C.: 1957 (1 letter)
Farmers Educational and Cooperative Union: 1944 (1 letter)
Fasola, Roberto: 1948-1949 (2 letters)
Federal Art Project: 1938-1939 (4 letters)
Federal Works Agency, Public Buildings Administration: 1940-1947 (70 letters re: murals for the Brevard, N.C. post office, the North Bergen, N.J. post office, and the Jasper, Florida post office, including a contract, 2 photographs, and 2 sketches for a mural)
Federal Works Agency, Work Projects Administration: 1941-1942 (2 letters)
Fellowship of Reconciliation and War Resisters League: [1945] (1 letter)
Ferargil Gallery: 1941 (1 letter)
Ferreri, Elena: 1938 (1 letter)
Figoullo, Adriano: 1912 (1 letter)
Fiore, Ilario and Titta: 1966-1967 (5 letters)
Fitzwater, Aldace: 1950 (1 letter)
Florentine Gallery: 1956 (4 letters)
Fogle, Bruce: 1927 (1 letter)
Food and Agriculture Organization of the United Nations: 1956 (1 letter)
Force, Mrs.: undated (1 letter)
Foreign Service of the United States of America: 1950 (3 letters)
Foresti, Arnaldo: 1948-1949 (2 letters)
Fortas, Abe: 1956 (1 letter)
Fortune -- magazine: 1944-1956 (2 letters)
Francis, Emily A.: 1951 (3 letters)
Franco, Johan: 1966 (2 letters)
Frankel, Samuel: undated (1 letter)
Freeman: Carl M. Freeman Associates, Inc.: 1963 (1 letter)
Frisine, Robert: 1967 (1 letter)
Frost, Phillip: 1981 (1 letter)
Fujita, Mr.: 1957 (1 letter)
Fulbright grant: see American Commission for Cultural Exchange with Italy
Fuller, Eve Alsman (Miami, Fl. post office): 1938 (1 letter)
Gabetti: undated (1 letter)
Galarza, Ernesto and Mae: (National Farm Labor Union; National Agricultural Workers Union): undated and 1944-1978 (27 letters); see Landon School for Boys; see Perkins, Milo
Galerie Internationale: 1965 (1 letter)
Galerie Schindler: undated and 1965-1972 (12 letters)
Gallaudet College: 1963-1970 (14 letters, including a contract)
Gallenga: 1951 (1 letter)
Gaspari, Mario P.: 1966 (1 letter)
Georgetown University Fine Arts Club: 1960 (1 letter)
George Washington University: 1965 (1 letter)
Giovannetti, Alberto: 1966 (1 letter)
Giovanni, Sebastiani: 1921 (1 letter)
Giricosnelli, Emilio: 1918 (1 letter)
Gobbi, Adolfo: 1928 (1 letter)
Goldberg, Dorothy and Arthur: 1964-1965 (3 letters)
Goldsmith, Alberto R.: 1947-1968 (3 letters)
Gonzales, Angelino: 1951-1975 (11 letters)
Gotham Book Mart: 1968 (1 letter)
Graham, John: 1948 (1 letter)
Granati, Pasquale: 1918 (1 letter)
Grand Central Art Galleries: 1956 (1 letter)
Grant, Blanche C.: undated (1 letter)
Grebanier, Barnard: 1961 (1 letter)
Greene, Hope Margaret: 1926-[1927] (2 letters)
Gualdi, Luigi: 1947-1949 (11 letters)
Guarino, A.: undated letters to Mabel McMahon and Guiolitta Sartori
Guggenheim: John Simon Guggenheim Memorial Foundation: 1937-1971 (5 letters)
Guggenheim: Solomon R. Guggenheim Museum: 1956-1960 (3 letters)
Gutheim, Frederick: 1956 (1 letter)
Haarlem House, Inc.: 1926 (1 letter)
Hahn, Rosemarie E.: 1961 (1 letter)
Halle, Kay: 1972 (1 letter)
Hammerle, Brooke: 1966 (1 letter)
Hansen, Jane: 1954 (1 letter)
Hardman, Virginia: undated (1 letter)
Harrison & Abramovitz, Architects: 1956 (1 letter)
Harrison, Charles H.: 1949 (1 letter)
Hart, Earl: mentioned in an undated letter
Hartley, Bettina: undated (1 letter)
Hartman Galleries, Inc.: 1973 (1 letter)
Hayward: City of Hayward, California: 1965 (1 letter)
Health, Education, and Welfare Employees' Association: 1962 (1 letter)
Hechinger, June: undated (1 letter)
Heilbron, Edna: 1972 (1 letter)
Heinemann, Mark: undated (1 letter)
Herzbrunn, Josef: 1949 (1 letter)
Heywood, Carmen: 1948 (1 letter)
Hollander, Cornelia: undated (1 letter)
Holvey, Sam: undated (1 letter)
Holy See: Permanent Observer of the Holy See: 1966 (1 letter)
Hom Gallery: 1972 (1 letter)
Horrocks, E. Joan: 1971 (1 letter)
Hotel Beau Site, Rome: 1928 (1 letter)
Hotel de la Ville, Rome: 1928 (1 letter)
Hotel Hassler, Rome: 1928 (1 letter)
Hotel Pension Alexandra, Rome: 1928 (1 letter)
Hotel Windsor, Rome: 1928 (1 letter)
Hough, Edith Louise: 1952 (1 letter)
Illinois State Historical Library: 1965 (1 letter)
Il Messaggero: 1928 (1 letter)
Immigration and Naturalization Service: 1976 (1 letter)
Institute for International Education: 1963 (1 letter)
Institute for the Arts of the Archdiocese of Washington: 1978 (2 letters)
Institute of Contemporary Art: 1956 (2 letters)
Institute of Gerontology: 1970 (1 letter)
International Directory of Arts: 1982 (1 letter)
Isherwood, Christopher: undated (1 letter)
Istituzione Maddalena Aulina: 1966 (1 letter)
Jacometti, Nesto: 1972 (1 letter)
Jaffe, Norman: 1964 (1 letter)
Janus, Virginia: 1929 (2 letters)
Jelleff: Frank R. Jelleff, Inc.: 1949 (1 letter)
Jennoff?, Peter L.: undated (1 letter)
Jewish Social Service Agency: 1967 (1 letter)
Johnston, L. R.: 1932 (2 letters)
Jones, Dorothea and Stuart E.: 1955 (3 letters)
Jones, George Lewis: 1961 (1 letter)
Jopp, Fred Gilman: 1936 (1 letter)
Josephy, Diane ( -- Time): -- 1968 (1 letter)
Junior Council of the Museum of Modern Art: 1956-1960 (2 letters)
Jurin, Benjamin M.: undated (1 letter)
Kagy, Virginia and Sheffield: 1948 (1 letter)
Kahles, Jessie: 1940-1948 (3 letters)
Kennedy, Jacqueline: May 19, 1960
Letters from White House Social Secretary: 1961-1963 (5 letters)
Kerensky, Alexander: 1965 (1 letter)
King Features Syndicate, Inc.: 1943 (1 letter)
King, Marion: 1952 (1 letter)
King, Rufus: 1975 (1 letter)
Kneifel, Mr.: 1956 (1 letter from Lazzari)
Kramer, Herbert (Congregazione del Preziosissimo Sangue): 1950 (1 letter)
Krishnamurti, Jack: 1959 (1 letter)
Kurzland, Toby: 1991 (1 letter)
La Follia: 1926 (1 letter)
La Galleria: 1972 (1 letter)
Landon School for Boys: 1944 (1 letter re: Ernesto Galarza)
Landu, Consuelo: 1948 (1 letter)
Lanier, Fanita: see Ruffiner, Willis E.
La Revue Moderne: 1961 (3 letters)
La Rocca, Principessa de: 1968 (1 letter)
Latif, Bilkeer: undated (1 letter)
Law, L. S.: 1932 (2 letters of recommendation for Lazzari)
Lawton, Thomas: 1974 (1 letter)
Lazzari, Attilio: 1922 (1 letter)
Lazzari, (Grace) Elizabeth Paine: undated and 1920-1951 (69 letters)
Letters from Pietro to Elizabeth: 1928-1929 (52 letters)
Lazzari, Evelyn Cohen: undated and 1948-1965 (6 letters)
Letters from Pietro to Evelyn: undated and 1932-1966 (49 letters, including one with a photograph of friends)
Lazzari, Fernanda (sister) and Vittoria: 1915-1949 (11 letters)
Lazzari, Leno: 1918-1929 (2 letters)
Lebanon: Embassy of Lebanon, Washington: 1956 (1 letter)
Lee, Amy: Nov 01, 1974 (letter from Lazzari); 1975 (1 letter)
Lee, Dal: 1954 (1 letter)
Lee, Pearl: undated (1 letter)
Levy, Sid A.: undated (1 letter)
Library of Congress: undated and 1965-1982 (6 letters)
Licciardi, Pietro: undated (1 letter)
Licinio Cappelli: 1949 (1 letter)
Life Insurance Company of Georgia: 1954 (2 letters)
Little Gallery: see Carolan, Anna B.
Lobatini, G.: undated (1 letter)
Loccatelli, Giulio: 1956-1958 (2 letters)
Lombaro (?), Patricia: 1961 (1 letter)
Loughlin, Dr. John J.: 1936-1940 (2 letters)
Lousine, L.: undated (1 letter)
Luccia, Enrico: undated and 1928-1977 (19 letters)
Lucibello, Luigi: Jan 12, 1965
Lucifero, Alfonso: Jan 13, 1912 (letter from Ministero delle Finanze)
McAfee, Don: 1955-1969 (3 letters); see Watergate Construction Corp.
McGinnis, Paul: 1988 (1 letter)
McIlhenny, Henry P.: 1949 (1 letter)
McIntyre, W. A.: undated (1 letter)
McKeogh, Elsie: 1954 (1 letter)
McKonish, Margaret: 1949 (1 letter)
McMahon, Mabel: undated (1 letter from A. Guarino)
Meert, Margaret Mullin: 1948 (2 letters)
Meeting House Gallery: 1972 (1 letter)
Meguin, A.: undated (1 letter)
Menard, G.: 1928 (1 letter)
Men of Achievement: 1974-1975 (2 letters)
Mensh, Elizabeth: 1978 (1 letter)
Merritt, Polly: undated (1 letter)
Messina, Joseph R.: 1971 (1 letter)
Metropolitan Museum of Art: 1951 (1 letter)
Miami Museum of Modern Art: 1965-1968 (7 letters)
Miki, Suizan: undated (1 letter)
Mills, Harrington: 1933 (1 letter)
Ming, Wang (National Art & Frame Co.): 1968 (1 letter)
Mitchell, Austin: 1946 (1 letter)
Montgomery County Art Association: 1961 (1 letter)
Moore, Norman Perry: 1927-1928 (2 letters)
Moore, Paul: 1970 (1 letter)
Morey, Mr.: [1950] (1 letter)
Morott, Aristodemi: 1918 (1 letter)
Morrison, Lillian: 1971 (1 letter)
Mortot, Virgilio: undated and 1962-1964 (4 letters)
Morvidi, Maria: 1918 (1 letter)
Moskin, Ruth: undated (1 letter)
Mullins, Mrs.: undated (1 letter)
Museum of Fine Arts, Boston: undated and 1955 (2 letters)
Museum of Fine Arts, Houston: 1964 (2 letters)
Museum of Modern Art: 1949-1973 (3 letters); see Junior Council of the Museum of Modern Art
Myers, Eugene Ekander: 1976 (1 letter)
National Academy of Design: [1939] (1 letter)
National Aeronautics and Space Administration: 1962-1973 (5 letters including 4 photographs of artwork and 23 photographs of astronauts Eugene A. Cernan, Ronald E. Evans, and Harrison H. Schmitt preparing for an Apollo 17 mission to the moon; an Apollo translunar/transearth trajectory plotting chart; an Apollo lunar orbit chart; and an Apollo earth orbit chart); see Cooke: Hereward Lester Cooke Foundation
National Cyclopedia of American Biography: 1979 (1 letter)
National Gallery of Art: undated and 1956-1974 (7 letters)
National Housing Center: 1961 (2 letters)
National Investigations Committee on Aerian Phenomena: 1957 (1 letter)
National Society of Arts and Letters: 1952 (1 letter)
National Society of Mural Painters: 1940-1963 (3 letters)
National Student Art Tour: 1949 (1 letter)
National Sugar Refining Company: 1938 (1 letter)
Neale, Rosamund: 1961 (1 letter)
Neilson, Robert Hude: 1928 (1 letter)
Nelson, Helen Ewing: undated (1 letter)
New American Library: 1953 (1 letter)
Newlin, Ben: 1979 (1 letter)
New Society for Art and Literature: 1947 (1 letter)
Nichol, Jean: 1926 (2 letters)
Nichol, Nella: 1929 (1 letter)
Nilsen, Laila: 1946 (1 letter)
Nobili, A.: undated letter written on reverse of photograph of Nobili painting
Nuova Critica Europea: 1969 (1 letter)
O'Connor, Don: 1960 (1 letter)
O'Connor, FrancisV.: 1968 (1 letter)
Oggi: 1967 (1 letter)
Okamoto, Yoichi R.: undated (1 letter)
Oklahoma Art Center: 1969 (1 letter)
Oklahoma Museum of Art: 1988 (1 letter)
Olson: Charles Olson Archives, University of Connecticut: 1975-1976 (3 letters)
Oregon State Library: 1957 (1 letter)
Orlando, Teresa: undated and 1949-1971 (3 letters)
Ottiani, Giuseppe: 1909 (1 letter)
Palmieri, Renato: 1928 (1 letter)
Park, Marlene: 1979 (1 letter)
Pavia, Dagoberto: 1959 (1 letter)
Pavia, Goffredo: 1921-1924 (7 letters)
Palmieri, Renato: 1957 (1 letter)
Palombi, Angelo: 1921 (1 letter)
Pan American Union: 1944-1945 (2 letters)
Parsons, Betty (Betty Parsons Gallery): undated and 1949-1973 (9 letters)
Passedoit Gallery: 1956 (1 letter)
Pensione Boos, Rome: 1928 (1 letter)
Pensione Girardet, Rome: 1928 (1 letter)
Perentine, Giuseppe (Nino): 1927-1950 (3 letters)
Peresson, I.: 1971 (1 letter)
Peretti, Luigi: undated (1 letter)
Perkins, Milo: 1944 (1 letter re: Ernesto Galarza)
Perna, Giorgio: undated (1 letter)
Peterson, Esther: 1978 (1 letter)
Philadelphia Department of Public Property: 1960 (1 letter)
Philadelphia Museum of Art: 1965-1966 (3 letters)
Phillips, Duncan: 1954 (1 letter)
Pirucchini, Maria: 1927 (1 letter)
Pope Paul VI: mentioned in 7 letters dated 1966, including 2 photographs of Lazzari with bust of the Pope; see Fiore, Ilario; see Giovannetti, Alberto; see Institute for the Arts of the Archdiocese of Washington
Preissler, Audrey: 1970 (1 letter)
Print Collector's Quarterly: 1949 (1 letter)
Print Council of America: 1963 (1 letter)
Prospersin, Eugenio: 1941 (1 letter)
Pyramid Club: 1956 (1 letter)
Quick, Robert B.: 1972 (1 letter)
Quinzi, Amerigo: 1920-1925 (2 letters)
Rady, Cabell: 1958 (1 letter)
Rahill, William Allen: 1954 (1 letter from Lazzari)
Rassegna Nazionale di Arti Figurative: 1948 (1 letter)
Rattu, Salvatore: undated and 1926-1966 (13 letters)
Reeves, Rosser: 1947 (1 letter)
The Reporter -- magazine: 1956 (1 letter)
Reuther, Victor: see United Auto Workers
Reynolds, D.: 1939 (1 letter from Lazzari)
Rhine, J. B.: 1949 (1 letter)
Ricca, Roberta: undated (1 letter)
Rieder (?), Baronessa: 1934 (1 letter)
Rioffo, Angela: 1959-1962 (2 letters including 2 photographs of friends)
River Road Gallery, Louisville, Ky.: 1941-1943 (4 letters)
Rivoi, Swami: undated (1 letter)
Robson, John: 1958 (1 letter)
Rocca Sinibalda: 1920 (1 letter)
Rockefeller, Nelson A.: 1946 (1 letter)
Rodman, Selden: undated (1 letter)
Rollins College: 1933-1942 (4 letters)
Roosevelt, Eleanor: Nov 09, 1945 and a letter dated 1964 concerns a viewing of the Roosevelt portrait bust); see White House; see Roosevelt Library
Roosevelt: Franklin D. Roosevelt Library at Hyde Park: 1963-1965 (8 letters, including typescripts of speeches); see United Auto Workers
Ross, Fred: 1949 (1 letter)
Rosso, Giulio: undated letter of recommendation by Lazzari
Roth, Maurice: 1993 (1 letter including 2 photographs of Lazzari's work)
Rothschild, Anselm A.: undated (1 letter)
Rowan, Edward: see Federal Works Agency
Rowan, Leata: undated (1 letter)
Rowantrees Pavilion: see Thompson, Lin
Rowin, Fran: 1976 (2 letters)
Rowland, Creelman: undated (1 letter)
Ruffner, Willis E. (lawyer for Fanita Lanier): 1944 (1 letter)
Russell, N. F. S.: 1932 (1 letter)
Rust, John and Thelma: 1952-1954 (38 letters, including an application from Lazzari for a grant from the John Rust Foundation, including a clipping about Rust and 3 photographs of cotton pickers); see West Tennessee Historical Society
St. Louis, Bertha: undated (1 letter)
Sanderson, W. A. (Calouste Gulbenkian Foundation): 1958 (1 letter)
San Francisco Museum of Art: 1967 (1 letter)
Sartori, Guiolitta: undated letter from A. Guarino
Satterlee & Smith, Architects: 1962 (1 letter)
Savini, Renata: 1965-1967 (3 letters)
Scheetz, June Rice: undated (1 letter)
Schoenberg, Rose: 1967 (1 letter)
Schurmer, Zaira E.: 1947 (2 letters)
Schwarz -- magazine: 1957 (1 letter)
Scigliano, Peppino Cosenza: 1910 (2 letters)
Sebastiani, G.: undated (1 letter)
Selmi, Gabriella: undated (1 letter)
Sevareid, Eric: 1956 (1 letter)
Sheen, Rev. Fulton J.: 1970 (1 letter)
Simotti, Aristide (friend who was prisoner of war): 1911-1925 (62 letters)
Sinisca: undated (1 letter)
Sirony, Simone: 1955-1964 (8 letters)
Smart: David and Alfred Smart Museum of Art: 1991-1996 (4 letters)
Smith, George: 1926-1927 (2 letters)
Smithsonian Institution: undated and 1947-1976 (8 letters)
Snyder, Nell H.: 1969 (1 letter)
Society of American Etchers: 1944 (1 letter)
Society of American Graphic Artists: 1956 (2 letters)
Society of Washington Artists: 1960-1961 (2letters)
Society of Washington Printmakers: 1976 (2 letters)
Sound View Press: 1991 (1 letter)
Spiral Group: see Strantin, Wally
Stevenson, Adlai: see White House
Stewart, George: 1932 (1 letter)
Strantin, Wally and Edward: 1950-1951 (2 letters)
Stroppoghetti, Arturo: 1923 (1 letter)
Stubbs, Kenneth: [1948] (1 letter)
Studer, Alfredo and Clara: 1947-1976 (15 letters)
Sweeney, James Johnson: 1949 (1 letter)
Syracuse University: 1964 (1 letter)
Taylor, Prentiss: 1972 (1 letter)
Teller, Douglas H.: 1963 (1 letter)
Terenz, Don Umberto: 1960 (1 letter)
Thames and Hudson, Ltd.: 1974 (1 letter)
Thomas, Norman: 1963-1965 (2 letters)
Thomen, Luis Francisco (Ambassador from Dominican Republic): undated (1 letter)
Thompson, Lin: 1950-1951 (3 letters)
Thurston, Charles D.: 1927-1928 (4 letters)
Tibet Society: 1975 (1 letter)
Timpenado, Cesare: 1927 (1 letter)
Tirrocelli (?), A.: 1917 (1 letter)
Toledo Museum of Art: 1957 (1 letter)
Toscanini, Arturo: mentioned in 2 letters dated 1928
Tosello, Alfredo: 1947-1949 (2 letters)
Tosi, Elisa: 1929 (1 letter)
Treasury Department, Section of Painting and Sculpture: 1936-1939 (53 letters concerning the Arlington, N.J. post office, the Sanford, N.C. post office, and the New York World's Fair Sculpture Competition)
Truman: Harry S Truman Library at Independence, Mo.: 1963 (1 letter)
Turkish Embassy, Washington, D.C.: 1958-1959 (4 letters including a photograph of Lazzari)
Tyler, Richard O.: 1958 (1 letter)
Ugolini, Luigi: 1969 (1 letter)
Ungar, Harold and Mildred: 1965 (1 letter)
United Auto Workers (U.A.W.): 1963-1971 (9 letters); see Debs: Eugene V. Debs Foundation
United Scenic Artists of America: [1939] (1 letter)
United States Civil Service Commission: 1944 (2 letters)
United States Department of Agriculture: 1945-1967 (10 letters)
United States Department of Labor: undated (1 letter)
United States Information Agency: 1959 (1 letter)
United States Information Service: Jul 09, 1964
University Settlement: 1946 (2 letters)
Upham, Elizabeth: 1948 (1 letter)
Van De Bries, Enri: 1973 (1 letter)
Vangell?, Raphaele: undated (1 letter)
Van Smith, Anne: 1949 (1 letter)
Venice Biennale: 1948-1954 (3 letters)
Vermont Marble Company: 1955 (1 letter)
Veschi, Signora: undated (1 letter)
Vickery, Ruth Bacon: 1929 (1 letter)
Victoria Hotel, Rome: 1928 (2 letters)
Virginia Museum of Fine Arts: 1956 (1 letter)
Visher, John: 1956 (1 letter)
Vosseller, Harold: 1948 (1 letter)
Wagner, Edward A. (Dell Publishing Co.) and Julia: 1954-1976 (5 letters)
Waldo, M. V.: 1945 (1 letter)
Warren, Susan and Louise: undated (1 letter)
Washington Gallery of Modern Art: undated (1 letter)
Washington is Wonderful: see Jones, Dorothea and Stuart E.
Washington-Lee High School: 1961 (1 letter)
Washington, Walter E. (Mayor of Washington, D.C.): 1976 (1 letter); Oct 19, 1976 (1 letter from Franz Bader)
Washington Water Color Association: undated and 1961 (3 letters)
Watergate Construction Corp.: 1968-1969 (4 letters); see Don McAfee
Watson, Ernest W. (editor, -- Art Instruction -- and -- American Artist -- ): 1939-1949 (3 letters)
Watson, Forbes: see Art in Federal Buildings, Inc.
Weil, Frank L.: 1926-1936 (2 letters)
Weinmann, Eric: 1980 (1 letter including a photograph of artwork)
Wells, John K. (Equitable Life Assurance Society): undated (1 letter)
West Tennessee Historical Society: 1952 (3 letters); see Rust, John
Weyhe: E. Weyhe Gallery: 1949 (1 letter)
White, Sarah: 1929 (1 letter)
Whitney Museum of American Art: 1939-1980 (11 letters)
Whyte Gallery: 1944-1950 (2 letters)
Widdemer, Kenneth D.: 1928 (1 letter)
White House: 1965-1968 (4 letters concerning the presentations of the busts of Eleanor Roosevelt and Adlai Stevenson)
Whittemore, Manvel: 1936 (1 letter enclosing poems)
Who's Who in America: 1979-1980 (2 letters)
Works Progress Administration: 1937-1938 (4 letters)
Workshop Center of the Arts: 1953 (1 letter); see Berkowitz, Ida and Leon
WRC Radio: 1966 (1 letter including a photograph of Lazzari)
The collection is open for research. Use requires an appointment.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Pietro Lazzari papers, 1878-1998. Archives of American Art, Smithsonian Institution.
Sponsor:
Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of the collection was funded by the Getty Grant Program; digitization of the collection was funded by the Samuel H. Kress Foundation and the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
Papers of artist Marion Huse provide a fairly detailed account of her artistic career, exhibitions, and her related travels, through photographs, picture postcards, exhibition catalogs and announcements, clippings, sketchbooks, correspondence, sales records, and a guest register from a memorial exhibition. Her teaching career and work as a WPA administrator is not well documented.
The correspondence dates from 1932-1985, and includes personal corresondence with her husband, Dr. Robert Barstow, June-Nov. 1946, and a small group of art related letters from art organizations, artists, galleries, and others. Among the correspondents are the Boston Society of Independent Artists, Howard Cook, the Ford Motor Company, George Grosz, Tricker Galleries, and the Works Progress Administration.
Included among the photographs are many portraits of Huse and her family, members of the Barstow family and their residences in Pownal, Vermont and coastal Massachusetts, Huse with colleagues and friends, her Springfield, Mass. studio and art classes, and many of her art work. Of note is an extensive collection of travel postcards and travel photographs she assembled during her travels, ca. 1936-1962, and used as source material for her paintings, showing scenes from an ocean crossing, France, Germany, Italy, Holland, Belgium, Caribbean countries, Mexico, Massachusetts, Vermont, and other New England locales, and New Mexico.
Sketchbooks, 1928-ca. 1960s, contain ink drawings, watercolors, and pencil sketches depicting urban streets in Massachusetts, rural New England scenes, circus scenes, buildings, and locales in Maine and Nova Scotia.
Sales receipts are primarily from the Southern Vermont Artists, Inc., 1935-1953.
Biographical / Historical:
Painter, printmaker, teacher, arts administrator; Mass.
Provenance:
Donated 1999 by Fuller Museum of Art, which received the papers through Huse's executor, along with over 5,000 paintings and works on paper comprising the Marion Huse Collection.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
The 19 scrapbooks in this series are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. Although incomplete, the scrapbooks provide fairly comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Some of the scrapbooks also contain printed material related to art, exhibitions and events elsewhere. Many of the exhibition catalogs found here are annotated with prices and other notes. Notably missing is the catalog for the 1908 exhibition, The Eight.
See Appendix for a list of Macbeth Gallery exhibitions documented in Series 5: Scrapbooks.
Arrangement:
As some of the dates of the scrapbooks overlap, they were numbered 1-19 for clarity. The scrapbook cover for #3 is housed in Box 120, and the contents are housed in Box 122.
Appendix: Macbeth Gallery Exhibitions Documented in Scrapbooks:
This chronological list of Macbeth Gallery exhibitions is extensive, but incomplete. While an attempt has been made to establish the accuracy of the information provided here, dates and titles of exhibitions are not guaranteed to be accurate. Most of the exhibitions listed here are documented in the scrapbooks through exhibition catalogs and/or invitations, lists of artwork and news clippings. The list is annotated with AAA microfilm reel and frame numbers to assist researchers in locating material on specific exhibitions.
Scrapbook 1, 1892-1901
Dec. 7-21, 1892 -- Water Colors by American Artists (NMc1: 273-275)
Jan.23-Feb.11, 1893 -- Landscapes in Oil (NMc1: 276-277)
Feb. 27-Mar. 18, 1893 -- Landscapes in Oil by William Keith (NMc1: 278-279)
Mar. 20-Apr. 8, 1893 -- Watercolors by Dutch Artists (NMc1: 281-282)
Nov. 8-29, 1893 -- Second Annual Exhibition of Watercolors by American Artists (NMc1: 283-285)
Dec. 2-16, 1893 -- Drawings in Watercolors and in Black and White by C. R. Grant and Wilson De Meza (NMc1: 287-290)
Jan. 20-Feb. 3, 1894 -- Pictures and Sketches by Anton Mauve (NMc1: 291-292, 311-313)
Feb. 6-17, 1894 -- Paintings by Henry W. Ranger (NMc1: 295-296)
Jan. 21-Feb. 2, 1901 -- Pictures and Portraits by Wilbur A. Reaser (NMc1: 385)
Feb. 25-Mar. 9, 1901 -- Frederick Ballard Williams (NMc1: 394-395)
Feb. 4-16, 1901 -- Landscapes by Alexander H. Wyant and George Inness (NMc1: 390-391)
May 9-31, 1901 -- Paintings by Arthur B. Davies (NMc1: 400-402)
Nov. 29-Dec. 14, 1901 -- Watercolors, Color Prints from Wood Blocks and Etchings Printed in Color by Helen Hyde (NMc1: 405-406)
Scrapbook 2, 1893-1898
Primarily news clippings.
Scrapbook 3, 1902-1910
Feb. 3-15, 1902 -- Private Collection of American Pictures (NMc1: 2-5)
Mar. 17-29, 1902 -- Some Phases of London When the Lamps Are Lighted, Done in Pastel by Fernand Lungren (NMc1: 10-13)
Mar. 31-Apr. 5, 1902 -- Group of Pictures by Sidney Starr (NMc1: 13)
Apr. 1-12, 1902 -- Pictures by Robert Henri (NMc1: 15-16)
Apr. 14-26, 1902 -- Drawings by Jane Erin Emmet (NMc1: 21-22)
Apr. 28-May 11, 1902 -- Landscapes by W. L. Lathrop (NMc1: 20)
Jan 19-31, 1903 -- Drawings and Sketches by Homer D. Martin, 1836-1897 (NMc1: 27)
Jan. 27-Feb. 11, 1905 -- Pictures by William Sartain (NMc1: 37-39)
Feb. 23-Mar. 8, 1905 -- Paintings by Arthur B. Davies (NMc1: 62-64)
May 1-6, 1905 -- Oil Paintings by American Artists from the Macbeth Gallery (at the Galleries of George D. Brodhead, Rochester, NY) (NMc1: 69-72)
Jan 29-Feb. 10, 1906 -- Abbot H. Thayer and Gladys Thayer (NMc1: 77-78)
Feb. 19-Mar. 3, 1906 -- Pictures by Charles H. Davis (NMc1: 79-80)
Mar. 10-24, 1906 -- Stephen Parrish (NMc1: 81-82)
Nov. 9-24, 1906 -- A Group of American Paintings (NMc1: 91-92)
Jan. 11-26, 1907 -- Paintings by William Sartain (NMc1: 100-101)
Feb. 1-16, 1907 -- Paintings by Paul Dougherty (NMc1: 105-106)
Feb. 23-Mar. 9, 1907 -- Paintings by Charles H. Davis (NMc1: 107-108)
Mar. 11-23, 1907 -- Portraits by Ellen Emmet (NMc1: 112-113)
Mar. 28-Apr. 3, 1907 -- Paintings by William Keith (NMc1: 115-117)
Nov. 11-23, 1907 -- Paintings by Augustus Vincent Tack (NMc1: 124-125)
Nov. 27-Dec. 12, 1907 -- Paintings by John La Farge (NMc1: 127-131)
Jan. 6-18, 1908 -- Paintings by Jerome Myers (NMc1: 133-134)
Jan. 20-Feb. 1, 1908 -- Paintings by Paul Dougherty (NMc1: 137-138)
Feb. 3-15, 1908 -- Exhibition of Paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan (NMc:142-143 Catalog missing from scrapbook)
Feb. 19-Mar. 7. 1908 -- Forty Selected Paintings by Living American Artists (NMc1: 147-149)
Mar. 11-24, 1908 -- Paintings by a Group of American Artists (Deceased), Copley to Whistler (NMc1: 151-152)
1908 -- Kwaunon Meditating on Life by John La Farge (NMc1: 155)
Nov. 10-25, 1908 -- Paintings by Howard Pyle (NMc1: 158-159)
Nov. 27-Dec. 10, 1908 -- Paintings by Charles Melville Dewey (NMc1: 161-162)
Dec. 15-31, 1908 -- Bronzes by a Group of American Artists (NMc1: 165-166)
Jan. 7-21, 1909 -- Forty Selected Paintings by Living American Artists (NMc1: 168-169)
Jan. 22-Feb. 4, 1909 -- Paintings by Henry W. Ranger (NMc1: 171-172)
Feb. 5-18, 1909 -- Paintings by Paul Dougherty (NMc1: 176
Feb. 19-Mar. 4, 1909 -- Arthur B. Davies (NMc1: 178)
Mar. 5-Mar. 18, 1909 -- Paintings by Charles H. Davis, N.A. (NMc1: 183-184)
Mar. 19-Apr. 1, 1909 -- A Group of Figure Subjects by Blendon Campbell, Charles W. Hawthorne, Robert Henri, George Luks, Kenneth Miller (NMc1: 186-187)
Apr. 2-15, 1909 -- Paintings by Louis Loeb (NMc1: 188-189)
Apr. 16-29, 1909 -- Paintings by a Group of Boston Artists (NMc1: 191-192)
May 10-22, 1909 -- Paintings by American Artists from the Macbeth Galleries, New York [at Findlay Art Co., Kansas City, MO] (NMc1: 195-197)
Nov. 18-Dec. 4, 1909 -- Paintings by Albert P. Lucas (NMc1: 203-205)
Dec. 7-24, 1909 -- Watercolors and Pastels by American Artists (NMc1: 207-210)
Dec 7-24, 1909 -- Second Annual Exhibition of Bronzes by American Sculptors (NMc1: 211-212)
Jan. 6-19, 1910 -- Sixteen Paintings of the Cornish Coast by Paul Dougherty (NMc1: 213-215)
Jan. 20-Feb. 2, 1910 -- Paintings by Mary Curtis Richardson of San Francisco (NMc1: 218-220)
Jan. 20-Feb. 2, 1910 -- First Exhibition of Paintings by Ben Foster (NMc1: 216-218)
Feb 3-16, 1910 -- Landscapes and Figures by Frederick Ballard Williams (NMc1: 227-229)
Feb. 3-16, 1910 -- Spanish Paintings by F. Luis Mora (NMc1: 225-227)
Feb. 17-Mar. 2, 1910 -- The Fur Jacket by J. McNeill Whistler (NMc1: 231-232)
Feb. 17-Mar. 2, 1910 -- Paintings by William Sartain (NMc1: 233-235)
Mar. 3-16, 1910 -- Fourteen Landscapes by Charles H. Davis (NMc1: 237-239)
Mar. 3-16, 1910 -- Recent Portraits by Cecilia Beaux (NMc1: 239-240)
Mar. 17-30, 1910 -- Paintings by Hermann Dudley Murphy (NMc1: 244-246)
Mar. 17-30, 1910 -- Figure Paintings by Charles W. Hawthorne (NMc1: 242-244)
Mar. 31-Apr. 13, 1910 -- Paintings of Baily's Island by Frederick J. Waugh (NMc1: 249-251)
Mar. 31-Apr. 13, 1910 -- Nineteen Landscapes by Chaucey F. Ryder (NMc1: 247-249)
Apr. 14-27, 1910 -- George B. Luks (NMc1: 253-255)
Apr. 30-May 14, 1910 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc1: 259-262)
Scrapbook 4, 1907-1913
Primarily news clippings.
Scrapbook 5, 1910-1915
Nov. 3-16, 1910 -- Recent Paintings by Charles W. Hawthorne (NMc2: 1-2)
Nov. 17-30, 1910 -- The Navajo Country in Watercolors by Frederick J. McComas (NMc2: 4-6)
Dec. 6-24, 1910 -- Watercolors, Pastels and Small Bronzes (NMc2: 7-14)
Jan. 5-18, 1911 -- Portraits by Ellen Emmet (NMc2: 15-16)
Jan. 19-Feb. 1, 1911 -- Paintings by Henry B. Snell (NMc2: 17-24)
Feb. 2-22, 1911 -- A Group of Thirty Selected Paintings (NMc2: 25-28)
Feb. 23-Mar. 8, 1911 -- A Group of Forty Selected Paintings (NMc2: 29-32)
Mar. 9-22, 1911 -- Paintings by Charles H. Davis, Paul Dougherty, Daniel Garber, William Sartain, F. Ballard Williams (NMc2: 33-35)
Mar. 23-Apr. 5, 1911 -- A Group of Paintings by Ben Foster, Albert L. Groll, Leonard Ochtman, Chauncey F. Ryder, Gardner Symons (NMc2: 36-38)
Apr. 8-22, 1911 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc2: 39-42)
Nov. 16-29, 1911 -- Landscapes, Marines and Wood Interiors by Robert Henri (NMc2: 45-48)
Dec. 6-30, 1911 -- Small Bronzes by American Sculptors (NMc2: 49-52)
Dec. 2-15, 1913 -- Second Exhibition by the Society of Men Who Paint the Far West (NMc2: 172-176)
Jan. 1914 -- Drawings of Game Birds by Frank W. Benson (NMc2: 179-180)
Jan. 6-19, 1914 -- Paintings by Emil Carlsen, Paul Dougherty, Frederick C. Frieseke, Childe Hassam, Willard L. Metcalf, Kenneth H. Miller, J. Alden Weir (NMc2: 179, 181-183)
Feb. 10-Mar. 2, 1925 -- Water Colors of Egypt and Jerusalem by Taber Sears (NMc3: 126, 129-130)
Feb. 10-Mar.2, 1925 -- The New England Year in Paintings by Charles H. Davis (NMc3: 126-128)
Mar. 3-23, 1925 -- Paintings by E. W. Redfield (NMc3: 131-133)
Mar. 24-Apr. 13, 1925 -- Paintings by Daniel Garber (NMc3: 135-138)
Apr. 14-May 4, 1925 -- Recent Paintings by Robert Henri (NMc3: 140-143)
Apr. 14-May 4, 1925 -- C. W. Hawthorne: Watercolors of Bermuda (NMc3: 139)
Oct. 13-26, 1925 -- Collection of American Masters Loaned for Exhibition (NMc3: 152-154)
Oct. 27-Nov. 16, 1925 -- Memorial Exhibition of Paintings by the Late William Sartain (NMc3: 155-158)
Nov. 7-23, 1925 -- Paintings by Contemporary American Artists Loaned by the Macbeth Galleries, New York, Engaged by the Muncie Art Students' League, Muncie, Indiana (NMc3: 147-148)
Nov. 17-Dec. 7, 1925 -- Paintings by DeWitt and Douglass Parshall (NMc3: 159-162)
Dec. 4-31, 1925 -- Easel Paintings by American Artists, Loaned by Macbeth Galleries to the Springfield Art Association (NMc3: 205, 207)
Dec. 8-Jan. 4, 1926 -- Watercolors by Distinguished American Artists (NMc3: 163-166)
Jan. 5-25, 1926 -- Recent American Portraits (NMc3: 168, 172-173)
Jan. 5-18, 1926 -- American Society of Miniature Painters, 27th Annual Exhibition (NMc3: 168-171)
Jan. 26-Feb. 15, 1926 -- Paintings by Jonas Lie (NMc3: 176-179)
Jan. 26-Feb. 15, 1926 -- First Exhibition of Paintings by John Huffington (NMc3: 176, 180-181)
Feb. 7-Mar. 17, 1926 -- Exhibition of Oil Paintings by American Artists Lent by the Macbeth Galleries to the Utica Public Library Art Gallery (NMc3: 205-206)
Feb. 16-Mar. 8, 1926 -- New Paintings by Charles W. Hawthorne (NMc3: 186-189)
Feb. 16-Mar. 8, 1926 -- Chauncey F. Ryder (NMc3: 184)
Jan. 18-31, 1927 -- Watercolors by John Lavalle of Boston (NMc3: 253-255)
Jan. 22-Feb. 7, 1927 -- Crapo Gallery Opening Exhibition: Thirty Paintings by Thirty Artists assembled by Macbeth Gallery at Swain School, New Bedford, Mass. (NMc3: 245-249)
Feb. 1-14, 1927 -- Recent Paintings by Frank W. Benson (NMc3: 259-262)
Feb. 2-14, 1927 -- American Society of Miniature Painters, 28th Annual Exhibition (NMc3: 253, 256-258)
Feb. 8-26, 1927 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc. at Anderson Galleries (Macbeth Gallery one of nine participants (NMc3: 263, 265-271)
Feb. 15-28, 1927 -- New Paintings by Chauncey F. Ryder (NMc3: 278-281)
Mar. 1-14, 1927 -- Watercolors by Aiden L. Ripley (NMc3: 282, 286)
Mar. 1-14, 1927 -- Paintings by a Group of Members of the Guild of Boston Artists (NMc3: 282-285)
Mar. 15-28, 1927 -- Paintings by Malcolm Parcell (NMc3: 287-290)
Mar. 15-28, 1927 -- Recent Pastels of Chartres by Carl Schmidt (NMc3: 287)
Mar. 29-Apr. 18, 1927 -- Thirty-fifty Anniversary Exhibition, Retrospect and Prospective (NMc3: 291-294)
Apr. 19-May 9, 1927 -- Frank A. Brown, Watercolors (NMc3: 296, 302-303)
Aug. 22-Sept. 5, 1927 -- American Art Exhibition arranged for Eastern Long Island by the Macbeth Gallery at Southampton, NY (NMc3: 297-301)
Oct. 18-29, 1927 -- American Art Exhibition, Art League of Fort Worth, Assembeled by the Macbeth Gallery (NMc3: 304, 306-311)
Oct. 18-31, 1927 -- Etchings by Walter Raymond Duff (NMc3: 313-315)
Oct. 18-31, 1927 -- Paintings by Max Bohm (NMc3: 313-315)
Nov. 1-14, 1927 -- Yankee Whalers by Clifford W. Ashley (NMc3: 316-317)
Scrapbook 11, November 1927-June 1930
Nov. 15-28, 1927 -- Paintings of Mallorca by Bernhard Gutmann (NMc3: 319-320)
Nov. 15-28, 1927 -- Paintings of Flowers by Carle J. Blenner (NMc3: 319, 321)
Nov. 29-Dec. 12, 1927 -- The Bathers , Paintings by William S. Horton (NMc3: 322-325)
Nov. 29-Dec. 12, 1927 -- Sidewalks of New York, Chalk Drawings by H. Devitt Welsh (NMc3: 326-327)
Dec. 13-31, 1927 -- Joint Exhibition of Paintings by Daniel Garber and Stanley Woodward (NMc3: 328)
Jan. 3-23, 1928 -- Recent Paintings by Jonas Lie (NMc3: 329-330)
Jan. 24-Feb. 13, 1928 -- Watercolors by John Lavalle (NMc3: 332-334)
Jan. 24-Feb. 13, 1928 -- Walter Ufer: Pictures from Taos (NMc3: 332, 334)
Jan. 24-Feb. 6, 1928 -- American Society of Miniature Painters, 29th Annual Exhibition (NMc3: 337-340)
Feb. 7-21, 1928 -- Small Pictures of Mountain and Sea by Jay Connaway (NMc3: 342)
Feb. 14-27, 1928 -- The Canadian Rockies by Belmore Brown (NMc3: 342-343)
Feb. 14-27, 1928 -- Sculpture by Gleb Derujinsky (NMc3: 342-344)
Feb. 21-Mar. 5, 1928 -- Watercolors of Venice, Spain and Brittany by Frank A. Brown (NMc3: 351-356)
Feb. 21-Mar. 10, 1928 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc., at Anderson Galleries; Macbeth Gallery one of sixteen participants (NMc3: 346-352)
Feb. 25-Mar. 17, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at Grand Rapids Art Gallery (NMc3: 385-387)
Feb. 28-Mar. 12, 1928 -- Paintings by Frank L. Schenk, 1856-1927 (NMc3: 357-358)
Mar. 20-Apr. 2, 1928 -- Lanscapes of Italy by A. Sheldon Pennoyer (NMc3: 366, 368)
Mar. 20-Apr. 9, 1928 -- Recent Landscapes, Switzerland and Other Subjects by Carl Lawless (NMc3: 366-367)
Apr. 2-15, 1928 -- Water Colors by Earl Winslow (NMc3: 355)
Apr. 10-30, 1928 -- St. Ives by Hayley Lever (NMc3: 369)
Apr. 29-May 20, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at the University of Wyoming (NMc3: 385-386)
Spring, 1928 -- American Painting for Home Decoration (NMc3: 370-377)
Oct. 16-29, 1928 -- The Canadian Rockies in Watercolors by J. Olaf Olson (NMc3: 389-392)
Nov. 7-24, 1928 -- Etchings by Sears Gallagher (NMc3: 393)
Nov. 13-26, 1928 -- Sand Dunes and Flowers by Frederick Lowell (NMc3: 393-394)
Nov. 26-Dec. 17, 1928 -- Etchings by Carlton T. Chapman (NMc3: 395)
Nov. 27-Dec. 10, 1928 -- Portraits by Ernest L. Ipsen (NMc3: 396-397)
Dec. 4-31, 1928 -- Etchings by Margery A. Ryerson (NMc3: 395)
Dec. 11-24, 1928 -- Landscapes in Watercolor and Gouache by H. Anthony Dyer and Character Studies in Watercolor and Pastel by Nancy Dyer (NMc3: 398-400)
Jan. 2-14, 1929 -- Figures and Landscapes by the Late J. Alden Weir, 1852-1929 (NMc3: 401-402)
Jan. 15-28, 1929 -- Paintings by H. Dudley Murphy; Watercolors by Nellie Littlehale Murphy (NMc3: 404-405)
Jan. 15-28, 1929 -- Portraits by William James (NMc3: 406-407)
Feb. 4-18, 1929 -- Twenty-five Etchings by Harold Denison (NMc3: 410, 416-417)
Feb. 5-18, 1929 -- Paintings by Emil Carlsen and Dines Carlsen (NMc3: 408-409)
Mar. 5-18, 1929 -- Marine Paintings by Stanley W. Woodward (NMc3: 419-423)
Mar. 19-Apr. 1, 1929 -- Watercolors by Frederick C. Frieseke (NMc3: 424-425)
Mar. 19-Apr. 1, 1929 -- Pastels of Louisiana by Will H. Stevens (NMc3: 424)
Apr. 1929 -- Paintings by Childe Hassam (NMc3: 433-438)
Apr. 2-15, 1929 -- Paintings by Arthur Meltzer (NMc3: 431)
Apr. 2-15, 1929 -- Watercolors by Earle B. Winslow (NMc3: 431)
June, 1929 -- Old Mill Afternoon by Childe Hassam, Ainslie Galleries, Inc., Detroit in collaboration with Macbeth Gallery (NMc3: 465-467)
Oct. 1-14, 1929 -- Portraits in Oil and Pastel by Paul Swan (NMc3: 472-473)
Oct. 15-28, 1929 -- Exhibitions from the Summer Colonies: No. 1, Lyme (NMc3: 476-477)
Oct. 19-29, 1929 -- Milch-Macbeth Exhibition of Prints and Paintings by American Artists at the High Museum under the auspices of the Atlanta Art Association (NMc3: 462)
Oct. 20-Nov. 11, 1929 -- Memorial Exhibition of Paintings by John Huffington (NMc3: 476-479)
Nov. 12-25, 1929 -- Exhibition from the Summer colonies: No. 2, Selections from the North Shore Arts Association of Gloucester (NMc3: 480-481)
Nov. 26-Dec. 3, 1929 -- Recent Landscapes by Charles H. Davis (NMc3: 482-483)
Dec. 10-Dec. 23, 1929 -- Watercolors by J. Olaf Olson (NMc3: 484-486)
Dec. 24-Jan. 6, 1930 -- Exhibitions from the Summer Colonies: No. 3, Mystic (NMc3: 487-488)
Jan. 7-20, 1930 -- Paintings of Wyoming Days and Nights by Ogden N. Pleissner (NMc3: 490, 492)
Jan. 21-Feb. 3, 1930 -- Landscapes by Aldro T. Hibbard (NMc3: 490-491)
Feb. 8-21, 1938 -- Vermont in Watercolors by Stanford Stevens (NMc4: 541-542)
Feb. 8-21, 1938 -- Modern American Interior: Prizewinning Design and Selected Drawings from a Competition Sponsored by James H. Blauvet and Associates, Interior Designers (NMc4: 543)
Feb. 23-Mar. 7, 1938 -- Herbert Dickens Ryman (NMc4: 546)
Mar. 1-14, 1938 -- Paintings and Watercolors by Anne Goldthwaite (NMc4: 546-547)
Mar. 8-21, 1938 -- Recent Watercolors of Woodstock, Charleston, New England by John W. Taylor (NMc4: 548-549)
Mar. 22-Apr. 11, 1938 -- Jon Corbino (NMc4: 554-561)
Apr. 12-25, 1938 -- Paintings by Ohio Artists (NMc4: 580-571)
Apr. 26-May 9, 1938 -- Paintings by Furman Joseph Finck (NMc4: 572-573)
May-June 1938 -- Winslow Homer: Watercolors and Early Oils from the Estate of Mrs. Charles S. Homer and Other Sources (NMc4: 574-579)
Oct. 4-28, 1938 -- Opening Exhibition (NMc4: 581)
Nov. 1-23, 1938 -- Dale Nichols, Watercolors and Tempera of Alaskan Subjects (NMc4: 582-583)
Nov. 29-Dec. 19, 1938 -- Sea Island Country Watercolors by Horace Day (NMc4: 584)
Jan. 10-30, 1939 -- Herbert Meyer (NMc4: 588-589)
Feb. 7-27, 1939 -- American Watercolors Past and Present (NMc4: 592-597
Mar. 7-Apr. 3, 1939 -- Monhegan by Jay Connaway (NMc4: 602-603)
Apr. 5-24, 1919 -- Oils and Watercolors by Ogden M. Pleissner (NMc4: 606-607)
May 2-22, 1939 -- Paintings by Francis Chapin, Antonio P. Matino, and Moses Soyer and Drawings by Jon Corbino (NMc4: 609-611)
Fragile original scrapbooks are closed to researchers. For more information, please contact Reference Services.
Collection Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.
Scope and Content Note:
The Richard Haas papers measure 6 linear feet and are dated 1937 to 2012, bulk 1970-2012. His work and career as a muralist, printmaker, and educator are documented by correspondence, writings, printed material, sketchbooks, and photographs.
Haas's correspondence relates to commissions, exhibitions, lectures, publications, teaching, and other professional activities. Correspondents include clients, galleries, professional organizations, critics, artists, architects and others. Also found is small amount of personal correspondence. Writings and notes by Haas include artist's statements, notes, lectures, a travel diary, papers and class notes from his undergraduate and graduate student days. Writings about him are a New Museum exhibition catalog text and a student paper. Subject files relate to Haas's professional activities and interests. They document exhibitions and projects, relationships with galleries, membership and participation in various organizations, and routine business matters. Sketchbooks (17 volumes) contain drawings, sketches, and a few watercolors, along with scattered writings and notes.
Arrangement:
The collection is arranged as 8 series:
Missing Title
Series 1: Biographical Materials, 1990, 2009 (Box 1; 0.1 linear feet)
Series 2: Correspondence, 1964-2008 (Box 1; 1 linear feet)
Series 3: Writings and Notes, circa 1954-2012 (Box 2; 0.8 linear feet)
Series 4: Subject Files, 1970-2011 (Boxes 2-4; 2.2 linear feet)
Series 5: Printed Material, 1956-2012 (Boxes 5-6; 1.2 linear feet)
Series 6: Artwork, 1954-2005 (Box 6; 0.1 linear feet)
Series 7: Sketchbooks, 1976-2009 (Box 6; 0.5 linear feet)
Series 8: Photographs, 1937-2006 (Box 6; 0.1 linear feet)
Biographical Note:
Richard Haas (b. 1936) is a mural painter of "architecture of illusion," his term describing the trompe l'oeil architectural subjects for which he is best known. His work as a printmaker also focuses on architecture, with iconic buildings of New York and other cities serving as subject matter. Hass is also an educator who has taught painting and printmaking at University of Minnesota, Michigan State University, Bennington College in Vermont, and School of Visual Arts in New York City.
During World War II, the Haas family moved from Spring Green, Wisconsin to Milwaukee. As a teenager, Richard spent two summers working with his great uncle, a master stone mason employed by Frank Lloyd Wright at Taliesin. He proved to be less interested in stonework than in exploring Wright's library and watching the young architects draw. He considered becoming an architect, but eventually concluded the artistic side of architecture was more attractive than the day to day work of an architect.
After graduating from the University of Wisconsin, Milwaukee (B.S., 1959), Hass worked as an art teacher in a Milwaukee high school. He attended graduate classes at University of Wisconsin, Milwaukee where visiting artist Jack Tworkov was his teacher. At the University of Minnesota (M.F.A., 1964), Haas studied with Peter Busa and Malcolm Myers. As an assistant professor at Michigan State University from 1964 to 1968, Haas's colleagues included Angelo Ippolito and Charles Pollock, and he met a number of important artists and critics who visited the campus. Haas moved to New York City in 1968 and soon accepted a part-time position teaching printmaking at Bennington College. He commuted weekly between New York and Vermont for the next decade.
During the 1960s Haas was a Color-field painter. He also continued making etchings and lithographs, and by 1970 several galleries were selling his architectural prints. His first outdoor mural, painted in the So Ho section of New York City in 1975, attracted attention and commissions followed. Mural commissions include: Boston Architectural Center (1977); Edison Bothers Store, Inc., St. Louis (1984); Home Savings of America, multiple locations in Florida and California (1990-1991); City of Huntsville, Texas (1991); Federal Building and Courthouse, Kansas City, Kansas (1994); and Yorkville Mural, New York City (2004.)
Haas, who began exhibiting while still a student, has participated in a large number of group shows and enjoyed many solo exhibitions. He was elected a National Academician, National Academy of Design, was granted a Guggenheim Fellowship, and has been a MacDowell Fellow. Among other honors, Haas has received the American Institute of Architects Medal of Honor, New York City Municipal Art Society Award, Doris C. Freedman Award for Public Art, and the Jimmy Ernst Award of the American Academy of Arts and Letters.
Mr. Haas, who works in New York City, is represented by David Findlay, Jr. Gallery. His wife, Katherine Sokolnikoff, is a sculptor and arts administrator; they live in Yonkers, New York.
Related Material:
An interview of Richard Haas conducted January 13 and March 16, 2009, by Avis Berman, for the Archives of American Art's U.S. General Services Administration, Design Excellence and the Arts oral history project, at Haas' studio, in New York, N.Y.
Provenance:
Donated by Richard Haas in 2012.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Topic:
Educators -- New York (State) -- New York Search this
Printmakers -- New York (State) -- New York Search this
Muralists -- New York (State) -- New York Search this
The papers of Timothy Casper measure 3.4 linear feet and date from 1943-1981, with bulk dates from 1950-1969. The papers document Casper's career and life which was cut short when he died from a car crash at age twenty-one. Included are biographical material; correspondence between Casper and his mother Elise Casper Ott, and from Elise to others regarding Timothy's artistsic legacy; writings; exhibition files; personal business records; printed material; photographic material and artwork.
Scope and Contents:
The papers of Timothy Casper measure 3.4 linear feet and date from 1943-1981, with bulk dates from 1950-1969. The papers document Casper's career and life which was cut short when he died from a car crash at age twenty-one. Included are biographical material; correspondence; writings; exhibition files; personal business records; printed material; photographic material and artwork. Biographical material includes Casper's birth and baptism certificates, his social security card, materials related to Casper's education and resumes and biographic summaries. Correspondence contains letters from Timothy Casper to his mother Elise Ott Casper, and from Elise to others regarding Timothy's artistsic legacy. Writing by Timothy Casper include a diary, an eight grade essay on monoprinting, travel notes and a draft of an New York University course schedule. Writings by others include teacher feedback notes, an annotated list of Casper's artwork, writings related to the planning and publishing of a book on Timothy Casper including a introduction outline, lists of artworks to be featured and correspondence. Exhibition files document six memorial exhibitions of Casper's work. Items include guest and address lists, agendas, writings, invoices, artwork insurance policies, correspondence and printed material. Personal business records include Timothy Casper's estate papers and life insurance documentation, alphabetized artwork title cards with corresponding loan and sale information and an invoice for napkins from Casper's printing business "Casper Studios". Printed Material includes exhibition flyers and newspaper clippings, primarily related to Casper's memorial exhibitions; a copy of Timothy F. Casper 1943-1964 a retrospective book on the life and career of Casper; a program for an elementary school play Casper participated in; brochures for different museums; New York University Graduate School bulletin publications; postcards from different locations in Washington D.C and miscellanea. Photographic material contains portraits of Timothy Casper as a child as well as photographs of his artwork. Also found are three family photo albums of the Caspers, their family and various places they visited, along with a photo album of Casper attending Woodcraft summer camp. Artwork consists of seven sketchbooks, loose and matted sketches, paintings, etching and linocut prints, a woven basket and bracelets. Also found is an extensive amount of Timothy Casper's childhood artwork including drawings, paintings, a molded plaster sculpture and a ceramic monogram.
Arrangement:
The collection is arranged as eight series
Series 1: Biographical Material, 1943-1966 (0.3 Linear feet Box 1, OV 5)
Series 2: Correspondence, 1943-1981 (1 Linear foot Box 1-2)
Series 3: Writings, 1953-1969 (0.2 Linear feet Box 2)
Series 4: Exhibition Files, 1965-1967 (0.2 Linear feet Box 2)
Series 5: Personal Business, 1956-1967 (0.4 Linear feet Box 2-3)
Series 6: Printed Material, 1956-1960 (0.1 Linear feet Box 3)
Series 7: Photographic Material, circa 1943-1965 (0.4 Linear feet Box 3)
Series 8: Artwork, circa 1945-1964 (0.9 Linear feet Box 3- 4, OV 6)
Biographical / Historical:
Timothy Casper (1943-1964) was a printmaker and draftsman from Milwaukee, Wisconsin whose artistic ability was recognized at a young age by artist and professor Gerald Landt, leading to Casper enrolling in special art classes at the Milwaukee Art Institute in 1953. From there Casper continued studying art throughout high school at the Putney School in Vermont, going on to start his bachelor's degree in art history at New York University in 1962. During his short life Casper managed to travel across Europe and the East Coast of the United States, visiting art museums and historical landmarks, including a fateful trip to Paris in 1964 where Casper died as a result of injuries sustained in a car accident. After his death, his mother Elise Ott Casper organized a series of memorial exhibitions across the United States as well as at the Galerie Wolfgang Gurlitt in Munich, Germany.
Provenance:
Bequest of Elise Ott Casper, mother of Tim Casper, in 1998.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Draftsmen (artists) -- Wisconsin -- Milwaukee Search this
Timothy Casper papers, 1943-1981. Archives of American Art, Smithsonian Institution.
Sponsor:
The processing of this collection received Federal support from the Smithsonian Collections Care and Preservation Fund, administered by the National Collections Program and the Smithsonian Collections Advisory Committee.
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Collection Citation:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
