Letters, writings, a scrapbook, printed material, and files on printmakers documenting Holman's career as a Boston print dealer at Goodspeed's Book Shop and the Holman Print Shop.
Included are correspondence with customers, publishers, family, museums, galleries, and others concerning Holman's business and expertise in the field of prints, ca. 1890-1941; a typescript "What Does a Print Seller Look for in a Print?"; a scrapbook of clippings about the Holman Print Shop, 1931-1937; clippings; advertisements; and exhibition announcements and catalogs.
Also included are artist/subject files containing letters and printed materials on Joseph Andrews, Timothy Cole, John Sanderson Datziel, Arthur Heintzelman and the book Old Maps and Their Makers. Included in the Andrews file is a ledger book, ca. 1851-1869, with clippings on his "Plymouth Rock." The Cole file has letters from and about Cole, cancelled checks, biographical sketches, notes, lists of works, clippings, reproductions of work, a bookplate designed by Cole, and photographs of Cole.
ADDITION (1.4 linear ft.): Biographical material; memorabilia; diaries, 1925-1938, detailing the running of a print dealership; notes, writings, and lectures; business and financial records, among them guestbooks kept by Holman's Print Shop from its founding until its closing, recording signatures, remarks, and several caricatures from noted artists and collectors; printed material; Richard Holman's research file on John Foster's "A Map of New-England," including correspondence with several noted mid-20th century authorities on American printing and printmaking history, in particular Ray Nash; and photographs.
Biographical / Historical:
Illustrator, art editor, and print dealer; Boston, Mass. Holman was born on Prince Edward Island, Canada, and began work in the bookselling and publishing business in Canada. He moved to Boston in 1889, where he attended Cowles Art School and studied with the painter Charles Woodbury. Holman travelled extensively and contributed illustrations and articles to various popular magazines and worked as art editor of New England Magazine and the Youth's Companion. In 1915, he established a print department at Goodspeed's Book Shop, leaving in 1930 to open his own firm, Holman's Print Shop, where he was joined by his son, Richard Bourne Holman, who ran the firm after Louis' death in 1939 until 1977.
Provenance:
Donated 1991 and 1997 by William Greenbaum, a print dealer. According to Greenbaum, other business records of Holman's Print Shop may have been discarded.
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.
Personal and professional records including correspondence, writings, notes, printed material, subject files, photograph album, and diaries relating to Zigrosser's work as an authority on prints and printmaking and his personal relationships with artists.
Included are: correspondence with family and with over 900 printmakers, painters, sculptors, acquaintances, friends, associates, organizations, museums, publishers, and magazines; general correspondence, notes, clippings, and manuscripts pertaining to The Modern School Magazine; files of correspondence from Zigrosser's work at: the Philadelphia Museum of Art, 1932-1971; John Simon Guggenheim Memorial Foundation; Solomon R. Guggenheim Foundation and Museum, 1946-1971, including correspondence with Frank Lloyd Wright concerning the Guggenheim Memorial Museum; Print Council of America, 1954-1971, regarding exhibitions, council meetings and other matters; and the Tamarind Workshop, 1960-1971.
Of particular interest is material relating to the 1913 Armory Show, including Zigrosser's annotated catalog, notes and sketches. Also included are speeches and notes, 1930-1968; manuscripts for lectures and unpublished materials; memorabilia; a photo album of sculpture by John B. Flannagan; art work, including prints and drawings by Karig Nalbandian, prints by Rockwell Kent, and oversized works of art on paper by Mabel Dwight, Wanda Gag and Kent; family photograph album; journals and pamphlets (covers only); and diaries, 1916-1971, discussing personal and professional events such as art openings, conversations and activities with Rockwell Kent, Alfred Stieglitz, and Georgia O'Keeffe, among others.
Among the correspondents are: the American Artists Group, John Taylor Arms, Art in America magazine, Art Institute of Chicago, Alfred Barr, E. Boyd, Charles Burchfield, Alexander Calder, Fitz Roy Carrington, Federico Castellon, Ed Colker, Howard N. Cook, Crown Publishers, Adolf Dehn, Caroline Durieux, John Bernard Flannagan, Andre Girard, Stanley William Hayter, Edward Hopper, Victoria Hutson Huntley, Independent Citizens Committee for the Arts, Sciences and Professions, R. Sturgis Ingersoll, Frederick Keppel, Rockwell Kent, Fiske Kimball, Misch Kohn, Yasuo Kuniyoshi, Julius Lankes, Mauricico Lasansky, Merritt Mauzey, Kneeland McNulty, James A. Michener, Marian Mitchell,
Museum of Non-Objective Painting (Solomon R. Guggenheim Museum), Karnig Nalbandian, Dorothy Norman, Georgia O'Keeffe, Walter Pach, Harold Paris, Print Club (Philadelphia), Diego Rivera, Ruth Starr Rose, Arnold Ronnebeck, Lessing J. Rosenwald, Andre Ruellan, Carl Oscar Schniewind, Roderick Seidenberg, William Spratling, Benton Spruance, Alfred Stieglitz, Harry Sternberg, Tamarind Lithography Workshop, Kuei Teng, U.S. Office of War Information, Curt Valentin, Heinz Warneke, Edward Weston, Weyhe Gallery, Whitney Museum of American Art, Harry Wickey, and Adja Yunkers.
Biographical / Historical:
Print curator; Philadelphia, Pa.; d. 1975. Graduated Columbia University in literature. Worked with prints in New York City at Keppel and Co. and Weyhe Gallery; print curator at Philadelphia Museum of Art 1940-1963; author of books on prints and art works.
Provenance:
Lent for microfilming, 1991, by the University of Pennsylvania Special Collections Department, Van Pelt Library. Zigrosser donated the papers to the University in 1972. Portions of the papers not microfilmed include research files, manuscript materials for published work, family records, and journals.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Rights:
Authorization to publish, quote or reproduce must be obtained from: Attn: Nancy Shawcross, Curator of Manuscripts, Rare Book & Manuscript Library, University of Pennsylvania, 3420 Walnut St., Philadelphia, Pa. 19104-6206; phone: 215-898-2065; e-mail: shawcros@pobox.upenn.edu.
Collection of the Smithsonian National Museum of African American History and Culture, Gift of the Families of Anita Williams Christopher and David Owen Williams
1 Photographic print ((mounted on cardboard), black and white, mount 8.5 x 10.5 in.)
Type:
Archival materials
Photographic prints
Place:
Emerald Necklace (Boston, Massachusetts)
James P. Kelleher Rose Garden (Boston, Massachusetts)
United States of America -- Massachusetts -- Suffolk County -- Boston
Date:
1951 Jun.
Collection Restrictions:
Access to original images by appointment only. Researcher must submit request for appointment in writing. Certain items may be restricted and not available to researchers. Please direct reference inquiries to the Archives of American Gardens: aag@si.edu.
Collection Rights:
For information or study purposes only. Use or copyright restrictions may exist. All requests for duplication and use must be submitted in writing and approved by Archives of American Gardens.
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Arthur Raymond Brooks Collection, NASM.1989.0104, National Air and Space Museum, Smithsonian Institution.
Use of original material requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact References Services for more information.
Collection Rights:
The E.P. (Edgar Preston) and Constance Richardson 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.
Collection Citation:
Edgar P. Richardson papers, 1814-1996, bulk 1921-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Smithsonian Institution Collections Care and Preservation Fund.
Access to NMAI Archive Center collections is by appointment only, Monday - Friday, 9:30 am - 4:30 pm. Please contact the archives to make an appointment (phone: 301-238-1400, email: nmaiarchives@si.edu).
Collection Rights:
Single photocopies may be made for research purposes. Permission to publish or broadcast materials from the collection must be requested from the National Museum of the American Indian Archive Center. Please submit a written request to nmaiarchives@si.edu.
Collection Citation:
Identification of specific item; Date (if known); Museum of the American Indian/Heye Foundation Records, Box and Folder Number; National Museum of the American Indian Archive Center, Smithsonian Institution.
Correspondence, biographical and genealogical information, poems, notes, diaries, artwork, sketchbooks, photographs, business papers and printed material relating to the Longacre family, especially James Barton Longacre and Andrew Longacre.
REEL P1-P2: Correspondence and papers of James Barton Longacre, 1819-1857, mostly concerned with his position as engraver of the U.S. Mint, Philadelphia, and his publication THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS. Letters include correspondence with Asher B. Durand, James Herring, John Neagle, Thomas Sully and George Catlin. Additional material includes diaries, sketches and designs for coinage, a biography, autobiographical notes, and printed material.
REEL 986: Five sketchbooks, ca.1861-1894, of Reverend Andrew Longacre. Sketches depict landscapes, interiors, and monogram designs made in the United States, Europe, North Africa and the Near East. In addition there is a memoranda book kept by Longacre, ca. 1890.
REELS 1046-1048: Letters, including: correspondence between James and his wife; between James and Andrew during the Civil War; and Lydia Longacre's letters from Europe, 1899-1900; and letters from Theodore Bolton to Mrs. James M. Longacre about including James in his book, EARLY AMERICAN PORTRAIT DRAUGHTSMEN IN CRAYONS. Also included are biographical notes on James; an autobiography of Andrew; poetry and writings by James; accounts of a trip to Egypt by Andrew; financial documents relating to James; artwork; designs for coins and sketchbooks by James, Andrew and Lydia and material relating to an engraving of Charles Carroll by James.
REELS 1083 & 1050: Genealogical information on the Stiles and Longacre families; letters from Andrew to his father, James Barton Longacre, and his sister, Sallie, and other family members and friends; a copy of James Barton's 1825 diary; poems and compositions by Andrew; financial and business papers, 1898-1918; 28 photographs depicting portraits of James and Andrew, Lydia E. Longacre and her miniature paintings.
REEL 3091: Two engravings by James after paintings by Benjamin West and a letter from Augusta M. Longacre to Bolton regarding Bolton's biography of James.
Biographical / Historical:
Artists; Philadelphia and New York. James Barton Longacre was an engraver and portrait painter. Chief engraver at the U.S. Mint, Philadelphia, from 1844-1869. His engravings and portraits illustrate several books including THE NATIONAL PORTRAIT GALLERY OF DISTINGUISHED AMERICANS, and BIOGRAPHY OF THE SIGNERS OF THE DECLARATION OF INDEPENDENCE. His son, Andrew Longacre was an engraver, watercolorist, and Methodist minister. His daughter, Lydia Longacre was a miniature painter, pupil of the Art Students League of New York, under Chase and Mowbray, and under Whistler in Paris.
Provenance:
Material on reels P1-P2 lent for microfilming by the Library Company of Philadelphia; Material on reel 986 lent 1975 by Fred Longacre; material on reels 1050 and 1083 lent 1975-1976 by Mrs. Andrew Longacre who also donated the material on reels 1046-1048 in 1982; material on reel 3091 donated 1981 by the NMAA-PG Library.
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.
Twenty-two stock inventory books providing information on the types and sales of art handled by H. Wunderlich & Company, and one volume, 1915, of its successor, Kennedy & Company. Also included is a consignment book recording transactions with Gustav Lauser, C.W. Kraushaar, Francis Seymour Hayden, Albert Rosenthal, and others.
Biographical / Historical:
Print gallery; New York, N.Y. Founded in 1874 by Hermann Wunderlich. After his death in 1892, his partner, Edward Kennedy took over, and in 1912 the name changed to Kennedy & Company (and in 1952 to Kennedy Galleries). H. Wunderlich & Company it handled primarily fashionable prints, Old Master prints and a few of the contemporary artists, such as James McNeil Whistler, David Cameron, and Francis Seymour Hayden.
Provenance:
Donated by Gerold M. Wunderlich, great-grandson of the gallery's founder Hermann Wunderlich, founder of H. Wunderlich and Kennedy & Company, and Kennedy Galleries, Inc.
Restrictions:
This collection is temporarily closed to researchers due to conservation. Contact References Services for more information.
Davis, Charles H. (Charles Harold), 1856-1933 Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Date:
[undated] and 1932-1991
Scope and Contents:
Biographical material, correspondence, writings, files, art work, and printed material.
Included are curricula vitae; correspondence with family members, artists, and friends including Lauren Gunn, Allen Lewis, Catherine Sears, Lynd Ward and others, and relating to publication of her cousin Francis Knapp's experiences with the Tlingit of Alaska; correspondence of her sister Alice Winchester, after Inman's death, about donating her work and the Alaska material; Christmas cards from artist friends; notes on Inman's reactions to each work shown at an exhibition at the American Institute of Graphic Arts, 1932-1933, and on printmaking materials; a sketchbook; 2 prints, one possibly not by Inman;
artists' files on Grace Albee, John Taylor Arms, Bernard Brussel-Smith, Asa Cheffetz, Thomas Nason, Susie Thompson, Lynd Ward, Stow Wengenroth, Andrew Wyeth and others, containing exhibition information and printed material; files for magazine articles or illustrations by Inman on wood engraver Alexander Anderson, the Society of Graphic Artists, the Print Collector, and the Woodcut Society; and printed material including catalogs, clippings, illustrations, bookplates by Norman Kent, and Inman's 50th Reunion Book from Smith College.
Biographical / Historical:
Printmaker, author, illustrator, Conn. Studied wood engraving with Allen Lewis.
Provenance:
Donated 1991 by Alice Winchester, Inman's sister.
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.
Included are letters to Eunice Leopold (1958-1986) concerning loans and gifts of prints by Benton Spruance; a letter from Henri Marceau to Spruance (1963), a letter from Ludwig Bemelmans (1958); letters to Leopold from Spruance (1961- 1967); sound recordings containing a Spruance lecture on prints and printmaking; printed matter relating to Spruance's career including exhibition catalogs, invitations, announcements, typed essays and news clippings; and photographs depicting Spruance's mural for the Home of Detention Chapel, Philadelphia, Pa.
Biographical / Historical:
Leopold: collector and friend of Spruance. Spruance: painter and printmaker; Pennsylvania. Spruance is known especially for color lithography. Studied Pennsylvania Academy of the Fine Arts; taught at Philadelphia College of Art and Beaver College, Jenkintown, Pa.; b. 1916; d. Mar. 12, 2001, at age 84; full name Eunice Robinson Leopold.
Provenance:
Donated 1986 by Eunice Leopold and 2002 by Ellen Leopold, Eunice Leopold's daughter.
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.
Occupation:
Lithographers -- Pennsylvania -- Philadelphia Search this
Topic:
Prints, American -- Collectors and collecting -- Pennsylvania -- Philadelphia Search this
Correspondence; awards; a chronological list of Miss Philbrick's etchings and prints, 1936-1971; a group of original etchings; photographs of her work; exhibition material from Society of American Graphic Artists, Library of Congress, Carnegie Institute and elsewhere; and clippings.
Biographical / Historical:
Painter, printmaker; Westwood and Sheffield, Massachusetts. Married to painter Otis Philbrick. Died Feb. 1999.
Provenance:
Lent for microfilming 1971 by Margaret Elder Philbrick.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
A collection of portfolios containing 59 block-printed textiles done for the handicraft project.
Also included on microfilm reel 3482 is one decorative, block-printed portfolio, approximately 11" x 13.5" with a seal "W.P.A. Handicraft Project No. 1170".
Biographical / Historical:
Howard Thomas was the director of the Milwaukee WPA Handicraft Project. The Milwaukee WPA Handicraft Project was one of the more unusual and diverse of the handicraft projects. Its "Project 1170" was a program especially created for women interested in becoming self-supporting. The Milwaukee County and the Milwaukee State Teachers College were partial sponsors of the project.
Provenance:
Unmicrofilmed material donated 1964 by Howard Thomas; material on reel 3482 donated 1966 by Harold Wescott.
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.
Correspondence files, project files, teaching files, writings, biographical material, inventories, receipts and price lists of prints, and printed material document Milton's printmaking career.
Primarily correspondence (1 foot), arranged chronologically, 1963-1977, and alphabetically by gallery or organization, relating mainly to exhibitions and sales of Milton's work, with galleries, museums, art organizations, colleagues, and collectors. Contained in some files are clippings, draft replies, inventories, consignment agreements, receipts, and a few photographs. Alphabetical file titles include Alma Pelis Gallery, Associated American Artists, C. Troup Gallery, Comsky Gallery, FAR Gallery, Fein/Art, Franz Bader Gallery, Graphics Gallery, Imprint Gallery, Kneeland McNulty, Museo La Tertulia, Optik Gallery, Orr's Gallery, Gabor Peterdi, Pickard Art Galleries, Pratt Center for Contemporary Printmaking, Priscilla Hartley Gallery, Print Club, Talisman Prints, and Joan Weinberg.
Included in the chronological files are letters, some lengthy, from Peter and Coille Hooven. The McNulty file contains research material for a catalog on Milton's etchings, and includes information on Josef Albers and Gabor Peterdi.
Project files, 1969-1974, regard Irving Finkelstein's article about Milton published in "Artists Proof" in 1971, and Milton's commission for the "Jolly Corner Suite" prints to illustrate "Bartelby" by Melville for Aquarius Press. Teaching files, ca. 1962-1965, include syllabi and notes for classes taught by Milton at the Maryland Institute College of Art. Printed material, ca. 1964-1970, includes exhibition announcements and reproductions of Milton's work.
Biographical / Historical:
Printmaker, educator; New Hampshire. Studied with Josef Albers and Gabor Peterdi at Yale University, where he received a BFA (1954) and an MFA (1962). Taught at the University of Bridgeport (1959-1960), Yale University (1960-1961) and the Maryland Institute College of Art (1961-1968).
Provenance:
Donated 1988 by Peter W. Milton.
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.
12 volumes of journals (1915-1933), documenting the technical aspects of his artistic career including drawing, printing, and lithography. They include accounts of experiments and work for other artists, including George Bellows, as well as definitions and excerpts of the writings of others.
A typescript of the manuscript, "Lithography Since Whistler," (1935) includes a history of lithography and a chapter on Joseph Pennell.
Two etching notebooks (1917-1918) contain sketches and notes on prints. Another notebook (1907-1910) contains sketches and notes on painting and pigments.
Also included are correspondence with some biographical information, a catalog of Brown's lithographs (1908), and loose lithographs.
Biographical / Historical:
Lithographer, writer, inventor and explorer; Woodstock, N.Y.
Provenance:
Lent for microfilming 1990 by Bryn Mawr College, as part of AAA's Philadelphia Arts Documentation Project.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
