One platinum print, showing the American artist Katharine Nash Rhoades (1885-1965) likely taken during her exhibition at the New York gallery 291. The portrait was likely presented to Freer by Rhoades who worked as his personal assistant in his final years.
Portrait of Katharine Rhoades
Arrangement:
Stored in one box.
Biographical / Historical:
Katharine Nash Rhoades (1885-1965) graduated from Brearley School in New York in 1904 and subsequently studied paining for several years before making her first trip to Paris. On her return to New York, Rhoades participated in the famous Armoury show of 1913. Rhoades met Alfred Stieglitz and was introduced to his circle. Also in 1915, Rhoades met Charles Freer and soon became his closest assistant.
Alfred Stieglitz was born in New Jersey in 1864, but lived and studied in Germany in his teens and 20s, where he became recognized as a talented photographer and writer about photography. Stieglitz returned to New York in 1894, where he soon became president of the prestigious New York Camera Club. The club's newsletter Camera Notes, became a major publication advocating photography as an art form. In 1902, Stieglitz led a group of like-minded photographers to form the Photo-Secession. Stieglitz also founded the gallery 291, which begame a center for avant-garde culture in New York.
Local Numbers:
FSA A.01 12.03.01
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Genre/Form:
Portraits -- Women
Photographs
Collection Citation:
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
Papers concerning Freer's art collecting activities, including correspondence, diaries, art inventories, scrapbooks of clippings on James McNeil Whistler and other press clippings, and photographs. In addition to Freer's own correspondence, the papers include correspondence collected by Freer of James McNeill Whistler and of Whistler collector Richard A. Canfield, correspondence of Freer's assistant Katharine Nash Rhoades, and correspondence regarding Freer's bequest to the Smithsonian Institution.
Correspondence, ca. 1860-1921, includes Freer's correspondence, 1876-1920, with artists, dealers, collectors, museums, and public figures; 30 v. of letterpress books containing copies of letters sent, 1892-1910; correspondence collected by Freer of James McNeill Whistler, and his wife Beatrix, 186?-1909, with Lady Colin Campbell, Thomas R. Way, Alexander Reid, Whistler' mother, Mrs. George W. Whistler, and others; correspondence of Whistler collector Richard A. Canfield, 1904-1913, regarding works in Canfield's collection; and correspondence of Freer's assistant, Katharine Nash Rhoades, 1920-1921, soliciting Freer letters and regarding the settlement of his estate.
Also included are twenty-nine pocket diaries, 1889-1890, 1892-1898, 1900-1919, recording daily activities, people and places visited, observations, and comments; a diary kept by Freer's caretaker, Joseph Stephens Warring, recording daily activities at Freer's Detroit home, 1907-1910;
Inventories, n.d. and 1901-1921, of American, European, and Asian art in Freer's collection, often including provenance information; vouchers, 1884-1919, documenting his purchases; five volumes of scrapbooks of clippings on James McNeill Whistler, 1888-1931, labeled "Various," "Peacock Room," "Death, etc.," "Paris, etc.," and "Boston...London" ; three volumes of newsclippings, 1900-1930, concerning Freer and the opening of the Freer Gallery of Art;
correspondence regarding Freer's gift and bequest to the Smithsonian Institution, 1902-1916; and photographs, ca. 1880-1930, of Freer, including portraits by Alvin Langdon Coburn and Edward Steichen, Freer with others, Freer in Cairo, China and Japan, Freer's death mask, and his memorial service, Kyoto, 1930; photographs of artists and others, including Thomas Dewing, Ernest Fenellosa, Katharine Rhoades taken by Alfred Stieglitz, Rosalind B. Philip, Augustus Saint-Gaudens, Abbott H. Thayer, Dwight Tryon, and Whistler; and photographs relating to Whistler, including art works depicting him, grave and memorial monuments, works of art, the Peacock Room, and Whistler's memorial exhibition at the Copley Society.
Among Freer's correspondents are: Otto Bacher, Bernard Berenson, Siegfried Bing, Laurence Binyon, W.K. Bixby, Sigisbert Chretien Bosch-Reitz, Charles H. Caffin, Colin Campbell, Richard Canfield, William Merritt Chase, Frederick Stuart Church, Alfred Vance Churchill, Thomas Wilmer Dewing, Arthur Wesley Dow, Ernest Fenollosa, Albert Gallatin, John Gellatly, Frederick W. Gookin, Sadakichi Hartmann, Frank J. Hecker, Dikran Kelekian, M. Knoedler & Co., Berthold Laufer, Lien Hui Ching Collection, W.A. Livingstone, Frederick McCormick, Bunkio Matsuki, Gari Melchers, Agnes Meyer, Eugene Meyer, Charles Moore, Yozo Nomura, Rosalind Birnie Philip, Charles A. Platt, Theodore Roosevelt, Augustus Saint-Gaudens, the Smithsonian Institution, Joseph Stephens Warring, Thomas Way, Abbott Handerson Thayer, Dwight W. Tryon, Charles Walcott of the Smithsonian Institution, Beatrix Whistler, James McNeill Whistler, K.T. Wong, Yamanaka & Co., and Seaouke Yue.
Arrangement:
All correspondence except letterpress books: arranged alphabetically by correspondent; letterpress books are chonological.
Biographical / Historical:
Art collector; Detroit, Michigan. Collected Asian, American, and European art, including a large collection of works by James McNeill Whistler. Founded the Freer Gallery of Art, which is now part of the Smithsonian Institution.
Provenance:
Selected for microfilming from the Charles Lang Freer papers at the Freer Gallery of Art and Arthur M. Sackler Gallery Archives. Microfilmed 1992 by the Archives of American Art with funding provided by the Smithsonian Institution's Office of Fellowships and Grants Research Resources Program. Portions of the correspondence and the letterpress books were previously filmed by the Freer in the 1970 (AAA reels 77, 453-456, and 1217-1232); those reels have been replaced by this microfilming project. See Finding Aid for information on papers not selected for microfilming.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Photographs of the memorial ceremony conducted on May 1,1930 at Koetsuji in Kyoto, as well as memorial rites undertaken at the same location in 1921; photographs of the plaster bust created directly following Freer's demise; a profile portrait of the deceased Freer by his assistant Katherine Nash Rhoades (1885-1965).
Photographs of memorials and memorial ceremonies to Charles Lang Freer in Kyoto; photographs of Freer's death mask, and a sketch of the deceased Freer by Katharine Nash Rhoades
Arrangement:
Organized by country.
Local Numbers:
FSA A.01 01.7
Collection Restrictions:
Collection is open for research.
Collection Rights:
Permission to publish, quote, or reproduce must be secured from the repository.
Topic:
Art, Asian -- Collectors and collecting Search this
Art, American -- Collectors and collecting Search this
Charles Lang Freer Papers. FSA A.01. National Museum of Asian Art Archives. Smithsonian Institution, Washington, D.C. Gift of the estate of Charles Lang Freer.
The papers of painter Katharine Rhoades measure 0.2 linear feet and date from 1940 to circa 1950. Found are thirty-three photographs of Rhoades's paintings and a letter from Lucy Madeira Wing.
Scope and Contents:
The papers of painter Katharine Rhoades measure 0.2 linear feet and date from 1940 to circa 1950. Found are thirty-three photographs of Rhoades's paintings and a letter from Lucy Madeira Wing.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Katharine Rhoades (1885-1965) was a painter in New York City, New York. She exhibited at the landmark Armory Show in 1913 and studied in Paris with Robert Henri.
Provenance:
Donated 1989 by Katharine R. Reed, who received the papers from the estate of her mother, Elizabeth Reynolds, Rhoades's aunt.
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:
Painters -- New York (State) -- New York Search this
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Katharine Rhoades photographs and letter, 1940-circa 1950. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
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:
Katharine Rhoades photographs and letter, 1940-circa 1950. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
A letter from Lucy Madeira Wing is in response to Rhoades' offer to donate a painting to the Madeira School. Thirty-three black and white photographs of paintings by Rhoades were taken by Peter A. Juley & Son, New York, some of which are annotated with provenance and color descriptions.
Collection 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.
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:
Katharine Rhoades photographs and letter, 1940-circa 1950. Archives of American Art, Smithsonian Institution.
Sponsor:
Processing of this collection received support from the Smithsonian American Women's History Initiative.
