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Milch Gallery records

Creator:
Milch Gallery  Search this
Names:
E. & A. Milch, Inc.  Search this
Milch Galleries  Search this
Vonnoh, Robert William, 1858-1933  Search this
Acheson, Alice  Search this
Adams, Charles L., 19th cent  Search this
Adams, Wayman, 1883-1959  Search this
Aiken, Charles Avery, 1872-1965  Search this
Albee, Grace  Search this
Anderson, Karl, 1874-1956  Search this
Appel, Marianne, 1913-1988  Search this
Archipenko, Alexander, 1887-1964  Search this
Arms, John Taylor, 1887-1953  Search this
Ascher, Mary G. (Mary Goldman), b. 1900  Search this
Azzaretti, Faust  Search this
Bacon, Peggy, 1895-1987  Search this
Baer, Martin, 1895-1961  Search this
Ballin, Hugo, 1879-1956  Search this
Barlow, Myron, 1873-1937  Search this
Barmore, Charles  Search this
Barr, Charles H.  Search this
Barr, Norman, 1908-  Search this
Barrymore, Lionel, 1878-1954  Search this
Baumann, Gustave, 1881-1971  Search this
Beal, Reynolds, 1866-1951  Search this
Bellows, George, 1882-1925  Search this
Benson, Frank Weston, 1862-1951  Search this
Biddle, George, 1885-1973  Search this
Blackburn, Morris, 1902-1979  Search this
Blakelock, Ralph Albert, 1847-1919  Search this
Blanch, Arnold, 1896-1968  Search this
Blanch, Lucile, 1895-1981  Search this
Bluemner, Oscar, 1867-1938  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Bohm, Max, 1868-1923  Search this
Bohrod, Aaron  Search this
Bosa, Louis, 1905-  Search this
Breckenridge, Hugh H. (Hugh Henry), 1870-1937  Search this
Bridgman, Frederick Arthur, 1847-1928  Search this
Browne, George Elmer, 1871-1946  Search this
Bruce, Edward, 1879-1943  Search this
Brush, George de Forest, 1855-1941  Search this
Buck, Claude, 1890-1974  Search this
Burlin, Paul, 1886-1969  Search this
Burr, George Elbert, 1859-1939  Search this
Butler, Howard Russell, 1856-1934  Search this
Calder, Alexander Stirling, 1870-1945  Search this
Carroll, John, 1892-1959  Search this
Chamberlain, Samuel, 1895-1975  Search this
Cheffetz, Asa, 1896-1965  Search this
Christy, Howard Chandler, 1873-1952  Search this
Cole, Alphaeus Philemon, 1876-1988  Search this
Congdon, William, 1912-1998  Search this
Crane, Bruce, 1857-1937  Search this
Curran, Charles C. (Charles Courtney), 1861-1942  Search this
Daingerfield, Elliott, 1859-1932  Search this
Davey, Randall, 1887-1964  Search this
De Groot, Adelaide Milton, b. 1876  Search this
DeCamp, Joseph, 1858-1923  Search this
Dehn, Adolf, 1895-1968  Search this
Dessar, Louis Paul, 1867-1952  Search this
Dewing, Thomas Wilmer, 1851-1938  Search this
Diederich, William Hunt, 1884-1953  Search this
Dike, Phil, 1906-1990  Search this
Donoho, Gaines Ruger, 1857-1916  Search this
Duncan, Charles, b. 1892  Search this
Eakins, Susan Macdowell  Search this
Etnier, Stephen, 1903-1984  Search this
Farnsworth, Jerry, 1895-1982  Search this
Fenton, Beatrice, 1887-1983  Search this
Feshin, Nikolaĭ Ivanovich, 1881-1955  Search this
Fitzgerald, James, 1899-1971  Search this
Flagg, James Montgomery, 1877-1960  Search this
Fredenthal, David, 1914-1958  Search this
French, Daniel Chester, 1850-1931  Search this
Fuchs, Emil, 1866-1929  Search this
Gallagher, Sears, 1869-1955  Search this
Ganso, Emil, 1895-1941  Search this
Gaspard, Leon, 1882-1964  Search this
Genth, Lillian Mathilde, 1876-1953  Search this
Gonzalez, Xavier, 1898-1993  Search this
Greenwood, Marion, 1909-1970  Search this
Gregory, John, 1879-1958  Search this
Gregory, Waylande, 1905-1971  Search this
Grosz, George, 1893-1959  Search this
Halpert, Samuel, 1884-1930  Search this
Hart, George Overbury, 1868-1933  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Haskell, Ernest, 1876-1925  Search this
Hassam, Childe, 1859-1935  Search this
Heerman, Norbert Leo, b. 1891  Search this
Heinz, Charles, 1885-1955  Search this
Hennings, E. Martin, 1886-1956  Search this
Henri, Robert, 1865-1929  Search this
Hopkinson, Charles, 1869-1962  Search this
Ireland, Leroy, 1889-1970  Search this
Judson, Alice, d. 1948  Search this
Kalish, Max, 1891-1945  Search this
Katz, A. Raymond (Alexander Raymond), 1895-1974  Search this
Kingman, Dong, 1911-2000  Search this
Kroll, Leon, 1884-1974  Search this
Kronberg, Louis, 1872-1965  Search this
Kupferman, Lawrence Edward, 1909-1982  Search this
Laufman, Sidney, 1891-  Search this
Lawson, Ernest, 1873-1939  Search this
Lever, Hayley, 1876-1958  Search this
Lie, Jonas, 1880-1940  Search this
Linde, Ossip L.  Search this
Low, Will Hicok, 1853-1932  Search this
Lucioni, Luigi, 1900-  Search this
Lutz, Dan, 1906-  Search this
MacRae, Emma Fordyce, 1887-1974  Search this
Manship, Paul, 1885-1966  Search this
Melchers, Gari, 1860-1932  Search this
Metcalf, Willard Leroy, 1858-1925  Search this
Meyerowitz, William, 1887-1981  Search this
Milch, Albert, 1881-1951  Search this
Milch, Edward, 1865-1954  Search this
Moffett, Ross  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Moran, Thomas, 1837-1926  Search this
Murphy, Hermann Dudley, 1867-1945  Search this
Murphy, John Francis, 1853-1921  Search this
Myers, Jerome, 1867-1940  Search this
Nagler, Edith Kroger, 1890-1986  Search this
Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this
Ochtman, Leonard, 1854-1934  Search this
Parshall, DeWitt, 1864-1956  Search this
Pearson, Ralph M., 1883-1958  Search this
Perrine, Van Dearing, 1868 or 9-1955  Search this
Pittman, Hobson Lafayette, 1899 or 1900-1972  Search this
Pleissner, Ogden M.  Search this
Pollet, Joseph C., 1897-1979  Search this
Pousette-Dart, Nathaniel, 1886-1965  Search this
Pugh, Mabel, b. 1891  Search this
Pène Du Bois, Guy, 1884-1958  Search this
Redfield, Edward Willis, 1869-1965  Search this
Ritschel, William, 1864-1949  Search this
Romano, Umberto, 1906-  Search this
Rungius, Carl, 1869-1959  Search this
Ryder, Chauncey F., 1868-1949  Search this
Ryerson, Margery  Search this
Sample, Paul, 1896-1974  Search this
Sawyer, Wells, 1863-1960  Search this
Schofield, Walter Elmer, 1867-1944  Search this
Shapiro, David, 1916-  Search this
Sharp, Joseph Henry, 1859-1953  Search this
Sheets, Millard, 1907-1989  Search this
Shuster, Will  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Speight, Francis, 1896-1989  Search this
Sterne, Maurice, 1878-1957  Search this
Sterner, Albert, 1863-1946  Search this
Tanner, Henry Ossawa, 1859-1937  Search this
Thayer, Abbott Handerson, 1849-1921  Search this
Trebilcock, Paul, 1902-1981  Search this
Tryon, Dwight William, 1849-1925  Search this
Twachtman, John Henry, 1853-1902  Search this
Ufer, Walter, 1876-1936  Search this
Varian, Dorothy, 1895-1985  Search this
Warneke, Heinz (Heinrich), 1895-1983  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Waugh, Frederick Judd, 1861-1940  Search this
Weir, John F. (John Ferguson), 1841-1926  Search this
Weir, Julian Alden, 1852-1919  Search this
White, Henry Cooke, 1861-1952  Search this
Wickey, Harry  Search this
Wiggins, Carleton, 1848-1932  Search this
Wiles, Irving Ramsay, 1861-1948  Search this
Woodward, Robert Strong, 1885-1957  Search this
Woodward, Stanley Wingate, 1890-1970  Search this
Wyeth, Andrew, 1917-2009  Search this
Zucker, Jacques, 1900-  Search this
Extent:
42.2 Linear feet
Type:
Collection descriptions
Archival materials
Gallery records
Photographs
Date:
1911-1995
Summary:
The records of Milch Gallery measure 42.5 linear feet and date from 1911-1995. Edward Milch (1865-1953) opened the Edward Milch Gallery in New York City. In 1916, he formed a partnership with his brother Albert Milch (1881-1951), a gilder and framer, creating E. & A. Milch, Inc., a gallery specializing in American art. Harold C. Milch (1904-1981), Albert's son, was appointed a partner in 1944 and continued the business until his death. Business records of Milch Gallery, 1911-1968, include correspondence, sales records, inventories, financial records, printed matter, photographs, and legal documents. Later additions to the records date from 1922-1995 and include correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.
Scope and Content Note:
The records of Milch Gallery document the business transactions of the corporation and the professional and personal relationships of the Milch brothers with the artists they represented, as well as with the larger community of artists and art dealers between 1911 and 1995. Unfortunately, early correspondence is sparse. In a letter responding to a 1951 request for historical information, Milch replied: "Several years ago [1947] we had to give up our gallery at 108 West 57th Street, and move to smaller quarters here. Since we had no room for old records, we had to destroy most of them."

Alphabetical files are comprised mainly of incoming correspondence from 1911 to 1962. Correspondence concerns arrangements for exhibitions, sales and consignments, advice to collectors and executors of estates, and routine business matters. A number of the artists represented in these files were friends of the Milch brothers and some of their letters mention their personal lives as well as their formal business with the Gallery. Collectors who routinely dealt with Milch Galleries included John Gellatly, Mary Blair, Hersey Egginton, Carlton Palmer, and Edward Coykendell; a three volume manuscript catalogue of Coykendell's collection is included. Among the estates handled by Milch were Willard Metcalf, John Twachtman, Abbott H. Thayer, Maurice Fromkes, and Thomas Moran.

Also found are sales records and other financial records such as general ledgers, sales and purchase records, and tax information.

Printed matter consists of gallery exhibition catalogs, checklists, invitations, announcements, publications, and scrapbooks. Many catalogs and checklists are annotated with prices and other information. A complete run of Milch Galleries Art Notes, issued intermittently from 1918-1928/29 is preserved with the gallery records. as is a scrapbook relating to early exhibitions held at the Edward Milch Galleries and E. & A. Milch, Inc., and artists represented by them.

Photographs included with the records are less voluminous than might be expected, and pictures of works of art predominate. There are also a very small number of exterior and interior photographs of Milch Gallery, photographs of people including artists, Edward and Albert Milch, and photographs of groups such as Ten American Artists and the Associated Dealers in American Paintings.

The 1995 and 2014 additions measure 3 linear feet and date from 1922-1995. Milch Gallery activities are documented through correspondence; artists' files; financial, sales, and stock records; printed material; and photographs.

See Appendix for a list of Milch Gallery exhibitions and checklists
Arrangement:
Records of the Milch Gallery are organized into seven series. With the exception of the alphabetical files, records are arranged by record type and then chronologically. Photographs are categorized by subject, with pictures of individuals arranged alphabetically by name, and works of art arranged alphabetically by artist.

Missing Title

Series 1: Alphabetical Files, 1911-1962

Series 2: Sales Records and Inventories, 1911-1969, undated

Series 3: Financial Records, 1914-1980, undated

Series 4: Printed Matter, 1996, 1910-1967, undated

Series 5: Photographs, 1903-circa 1944, undated

Series 6: Miscellaneous, 1916-1970, undated

Series 7: Addition to the Milch Gallery Records, 1922-1995 (Boxes 60-65, 3 linear feet)
Historical Note:
Between 1911 and 1916, prior to the establishment of the Milch Galleries, Austrian immigrant Edward Milch (1865-1953) operated the Edward Milch Galleries at 939 Madison Avenue 1911, mainly handling prints and providing framing services.

Albert Milch (1881-1951) was employed by a gilder and later a picture framer before becoming the business partner of his older brother. In 1916 they incorporated as E. & A. Milch (with Edward as President and Albert as Secretary of the corporation) and opened the Milch Galleries at 108 West 57th Street, New York City. During their partnership, Edward served as President and Albert as Secretary of the corporation. According to Joseph Gotlieb, a long-time employee, during this period Montross Gallery became inclined toward modern French art and the American artists associated with them began searching for galleries more sympathetic to their interests. "As Albert Milch was a framemaker to several of them, and as he was opening a new gallery in 1916 to specialize in American Art, some artists decided to let the Milch Galleries, and others, handle their work. It turned out to be a good arrangement for both sides, and a successful one" (letter from Joseph S. Gotleib to Susan Hobbs [National Museum of American Art], December 30, 1977).

From the beginning, Milch Galleries dealt in American art almost exclusively, representing living artists, handling the estates of recently deceased artists; in addition they acquired nineteenth century works for resale and accepted pieces on commission. Although framing and restoration services continued to be offered to customers, this aspect of the business soon diminished in importance.

Harold C. Milch (1904-1981), Albert's son, was affiliated with the business, and upon his father's retirement was appointed partner; after Albert died in 1951, Harold was sole proprietor, serving as both President and Secretary.

Milch Galleries moved to smaller quarters at 55 East 57th Street in 1947, and ten years later to 21 East 67th Street. In 1967, the name was changed to Milch Gallery and the business relocated to 1014 Madison Avenue. The gallery dissolved upon the death of Harold Milch. A third brother, David C. Milch, was also an art dealer, but was not associated with Milch Gallery.

Missing Title

1911 -- Edward Milch Galleries opens at 939 Madison Ave.

1912 -- First exhibition at Edward Milch Galleries

1916 -- Incorporation of E. & A. Milch; Edward Milch, President, and Albert Milch, Secretary; change of name to Milch Galleries and relocation to 108 West 57th St.

1918 -- Milch Galleries Art Notes begins publication

1944 -- Edward Milch retires; Albert Milch President, and Harold C. Milch [son of Albert], Secretary

1947 -- Milch Galleries moves to 55 East 57th St.

1951 -- Death of Albert Milch (1881-1951); Harold C. Milch, President and Secretary

1953 -- Death of Edward Milch (1865-1953)

1957 -- Milch Galleries moves to 21 East 67th St.

1966 -- Archives of American Art begins acquiring records of the Milch Galleries (gifts and loans from Milch Galleries)

1967 -- Relocation to 1014 Madison Ave., and name change to Milch Gallery

1981 -- Death of Harold C. Milch (1904-1981)

1986 -- Archives of American Art receives the bulk of Milch Gallery records (gift of Salander-O'Reilly Galleries)
Appendix: List of Milch Gallery Exhibitions and Checklists:
Items marked with an asterisk (*) are contained in the scrapbook rather than with the Milch Gallery exhibition catalogs.

Missing Title

Nov. 16-Dec. 7, 1912* -- Exhibition of 300 Original Sketches in Oil by 100 Well Known American Artists

Feb. 15-March 8, 1913* -- Glimpses of Nature We Love to See, Feast, and Dwell On

April 28-May 7, 1913* -- Portraits of Children and Grown-Ups by Miss Susan Ricker Knox

Oct. 18-Nov. 1, 1913* -- Small Paintings and Bronzes

Oct. 18-Nov. 1, 1913* -- Exhibition of Paintings and Sculptures by Noted American Artists

Feb. 9-21, 1914* -- Paintings by W. Herbert Dunton of The Old West

Oct. 17-31, 1914* -- Portraits in Oil, Miniatures, and Sculpture

Feb. 20-March 7, 1915* -- Paintings and Etchings by Gordon Mallet McCouch

April 26-May 8, 1915* -- Paintings by Frew W. Kost, N.A.

Nov. 7-19, 1915 -- Paintings and Sculpture by Matilda Browne

Nov. 15-30, 1915* -- Views of the Panama California Exposition and Landscapes of Southern California

Jan. 31-Feb. 12, 1916 -- Paintings by Garber, Pearson, Lathrop, and Spencer

Feb. 14-26, 1916* -- Landscapes by Walter Clark, N.A.

Feb. 14-26, 1916* -- Paintings by Guy Wiggins

Nov. 4-18, 1916* -- Opening Exhibition

Nov. 25-Dec. 9, 1916* -- Works by the Late Louis Loeb

Jan. 15-27, 1917* -- Paintings by Helen M. Turner

Jan. 30-Feb. 10, 1917* -- Paintings by Leonard Ochtman, N.A.

Feb. 14-24, 1917* -- Recent Paintings by William V. Schevill

March 6-24, 1917 -- Ten American Painters

March 13-24, 1917* -- George Bellows

March 14-24, 1917* -- Paintings by Frederick J. Waugh

March 26-April 7, 1917* -- Paintings by Howard Russell Butler, N.A.

April 10-21, 1917 -- Paintings by Harry F. Waltman and Howard Giles, and Sculptures by Willard D. Paddock

April 15-27, 1917* -- Paintings by Valentino Molina

April 24-May 5, 1917* -- Paintings by Thalia Millet

Oct. 27-Nov. 17, 1917* -- William Jean Beauley

Jan. 15-Feb. 15, 1918* -- Etchings, Dry-Point and Lithographs by Ernest Haskell

Jan. 28-Feb. 4, 1918 -- Sketches and Paintings by the "Nova Scotia Group"

Feb. 25-March 16, 1918* -- Paintings by Robert Henri

March 13-24, 1918 -- George Bellows

March 22-April 4, 1918* -- Paintings by H. Gabrielle Levey

April 8-, 1918* -- Etchings by Allen Lewis

Nov. 25-Dec. 16, 1918* -- Paintings by Edward H. Potthast, N.A.

Dec. 18-Jan. 16, 1918 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 23-Jan. 10, 1919* -- Etchings and Dry-Points by Ernest Haskell

Jan. 13-25, 1919* -- Paintings by Mary Prindeville

Jan. 27-Feb. 13, 1919* -- With the A.E.F., Paintings and Drawings Made at the Front by S. J. Woolf

Feb. 14-26 [1919?]* -- Paintings by Arthur C. Goodwin

Feb. 18-March 1, 1919* -- Paintings by Jerome Myers

March 3-16, 1919* -- Recent Paintings of California by William Ritschel, N.A.

March 17-29, 1919 -- Recent Paintings by Lillian Genth, A.N.A.

March 28-April 9, 1919* -- Drawings of New York City by Peter Marcus

April 8-30*, 1919 -- Paintings by Leading American Artists

April 19-May 1*, 1919 -- Paintings by Valentino Molina

May 3-22, 1919 -- Recent American Sculpture

May 5-17*, 1919 -- Recent American Sculpture in Bronze, Wood, and Terra Cotta for the Town and Country House, the Grounds, and Garden

May 20-, 1919 -- Flag Pictures and Street Scenes by Childe Hassam

Nov. 16-Dec. 6, 1919 -- Childe Hassam

Nov. 17-Dec. 6, 1919 -- Exhibition of Works in the Various Mediums by Childe Hassam

Dec. 18-Jan. 16, 1920 -- Annual Holiday Exhibition of Selected Paintings of Limited Size by American Artists

Dec. 29-Jan. 15, 1920* -- Portraits and Other Paintings by Royston Nave

Feb. 2-14, 1920 -- George Biddle

Feb. 2-14, 1920* -- Oil Paintings, Water Colors, Pastels, Monotypes, Silver-Points and Etchings by George Biddle

Feb. 16-28, 1920* -- Paintings by Ossip L. Linde

March 1-12, 1920 -- Bruce Crane

March 1-13, 1920 -- Bruce Crane, A.N.A.

March 15-April 3, 1920 -- Willard L. Metcalf

April 5-20, 1920 -- Paintings

April 8-30 [1920] -- Exhibition of Paintings by Leading American Artists

April 15-May 1, 1920 -- Valentino Molina

Oct. 18-30 [1920?]* -- Paintings of New England and Drawings of the Devastated Towns of Flanders by George Wharton Edwards

Nov. 1-13, 1920 -- Six American Painters [Clark, Potthast, Snell, Nichols, Olinsky, and Volkert

Nov. 1-15, 1920 -- Paintings by Theresa F. Bernstein

Nov. 15-27, 1920 -- Childe Hassam

Nov. 21-Dec. 3, 1920* -- Sculpture by Gleb Derujinsky

Dec., 1920* -- Exhibition by George Biddle

Dec. 1-21, 1920 -- Etchings and Color Etchings by William Meyerowitz

Dec. 27-Jan. 28, 1921 -- Albert Delbert Smith

circa 1920 -- Ossip L. Linde

circa 1920 -- William Meyrowitz

circa 1920 -- Exhibition

Jan. 10-29, 1921 -- Exhibition of Paintings by Brush, Crane, Dewing, Metcalf, Hassam, and Murphy

Jan. 31-Feb. 12, 1921 -- American Art

Feb. 14-26, 1921 -- Guy Wiggins

Feb. 14-26, 1921 -- Arthur G. Goodwin

Feb. 28-March 12, 1921 -- Paintings by Robert Henri

March 14-April 9, 1921 -- Paintings by Gari Melchers

March 28-April 9, 1921 -- Peter Marcus

April 11-23, 1921* -- Portraits and Figure Paintings by Edith Catlin Phelps

April 11-30, 1921 -- Paintings by Willard Metcalf

May 2-30, 1921 -- American Sculpture for the Town and Country House, the Garden, and the Grounds

Oct. 18-30 [1921?]* -- Paintings and Drawings by George Wharton Edwards

Oct. 24-Nov. 5, 1921 -- Portraits and Paintings of Old New Orleans by Wayman Adams

Nov. 7-19, 1921 -- Flower Paintings and Sculpture by Mathilde Browne

Nov. 7-19, 1921 -- Paintings in Oil and Water Color by George H. Clements

Nov. 19-Dec. 3, 1921 -- Sculpture-Gleb Derujinsky

Dec. 5-31, 1921 -- Works by Abbott H. Thayer, Including Important Paintings, Water Colors, and Drawings

circa 1921 -- Exhibition

Jan. 9-21, 1922 -- Paintings by Katherine Langhorne Adams

Jan. 9-21, 1922 -- Paintings of California by Douglass Ewell Parshall

Feb. 13-March 4, 1922 -- Paintings of Cape Ann by Harry A. Vincent, A.N.A.

March 6-25, 1922* -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 6-25, 1922 -- Connecticut Landscape Paintings by Wilson Irvine

March 27-April 15, 1922* -- Moonlight Motifs: Garden of the Gods, Colorado and Other Paintings by Robert Reid, N.A.

Dec. 26-Jan. 13, 1923 -- Paintings and Pastels by Henry C. White

Jan. 15-27, 1923* -- Paintings of Spain by William J. Potter

Jan. 29-Feb. 10, 1923 -- Water Colors of the South Sea Islands by William Ritschel, N.A.

Feb. 12-March 3, 1923 -- Paintings by Willard L. Metcalf

March 5-31, 1923 -- Paintings of the Far East by Leon Gaspard

March 19-31, 1923* -- Landscape Paintings by Guy Wiggins, A.N.A.

April 2-21, 1923* -- Portrait Drawings by Ercole Cartotto

April 19-May 6, 1923 -- Paintings by Leading American Artists

Oct. 1-20, 1923 -- Paintings by Sidney E. Dickinson, A.N.A.

Oct. 22- Nov. 3, 1923 -- Paintings and Sculpture by Mathilda Brown (Mrs. Frederick Van Wyck)

Nov. 5-17, 1923 -- Memorial Exhibition of Paintings by William Gedney Bunce

Dec. 11-23, 1923* -- Water Colors by James Montgomery Flagg

Jan. 14-26, 1924 -- Exhibition of Nudes, Portraits, Landscapes and Genre by Eugene Paul Ullman

Feb. 18-March 8, 1924 -- Paintings by Willard L. Metcalf

March 27-April 5, 1924 -- Connecticut Landscapes by Guy Wiggins, A.N.A.

Dec. 1-27, 1924 -- Maurice Fromkes

Jan. 5-17, 1925 -- Paintings of the Pacific Coast by Armin Hansen

Jan. 19-31, 1925 -- Martha Walter

Feb. 16-March 7, 1925 -- Willard L. Metcalf

March 9-21, 1925 -- John Noble

March 23-April 11, 1925 -- Bruce Crane

May 4-16, 1925 -- Brynjulf Strandenaes Exhibition of Portraits

May 18-30, 1925 -- Paintings by Robert Brackman

Dec. 7-31, 1925 -- Paintings by the Late Willard Metcalf

Dec. 7-21, 1925 -- Sketches by Dorothea A. Dreier,

Jan. 11-23, 1926 -- Recent Landscape Paintings by Frank V. Du Mond

Jan. 25-Feb. 13, 1926 -- Smaller Paintings by Max Bohm

Feb. 15-March 6, 1926 -- Paintings of the Sea by William Ritschel

April 13-May 2, 1926 -- Jonas Lie

April 26-May 15, 1926 -- Landscapes and Street Scenes by William Jean Beauley

Nov. 15-27, 1926 -- California Marine Paintings and Water Colors by Armin Hansen

Nov. 29-Dec. 18, 1926 -- Water Colors by Frank W. Benson

Nov. 29-Dec. 18, 1926 -- Silver-Point Drawings by Ercole Cartotto

Jan. 10-22, 1927 -- Portraits by Millie Bruhl Frederick (Mrs. Leopold Fredrick)

Jan. 24-Feb. 12, 1927 -- Paintings of Cornwall and Devonshire by W. Elmer Schofield

Jan. 24-Feb. 12, 1927 -- Etchings by Teresa Cerutti Simmons, Watercolors by Will Simmons

Feb. 14-March 5, 1927 -- Sculpture by Heinz Warneke

March 28-April 16, 1927 -- Paintings by Henry Golden Dearth

April 18-30, 1927 -- Decorative Flower Paintings by Olin Howland

April 18-30, 1927 -- Recent Water Colors by John Whorf of Boston

Oct. 10-28, 1927 -- Decorative Embroideries by Georgiana Brown Harbeson

Nov. 14-26, 1927 -- Pastels and Etchings of Cambodia and China by Lucille Douglass

Nov. 28-Dec. 24, 1927 -- Works by Gari Melchers

Nov. 28-Dec. 24, 1927 -- Sculpture by Max Kalish

Dec. 26-Jan. 14, 1928 -- Water Color Exhibition of West African Native Types by Erick Berry; Also a Group of West African Pottery and Brass Figures Made by the Natives of Nigeria

Dec. 29-Jan. 14, 1928 -- Paintings by Joacb Dooyewaard

Jan. 14-26, 1928 -- Decorative Paintings by Jane Peterson

Feb. 7-April 29, 1928 -- Alfred Hutty

Feb. 13-25, 1928 -- Water Colors by Alice Judson

March 12-24, 1928 -- Etchings of Ancient Dances by Teresa Cerutti-Simmons and Wild Life by Will Simmons

March 12-24, 1928 -- An Important Exhibition of Paintings and Pastels by John H. Twachtman

March 12-24, 1928 -- Sculpture by Heinz Warnecke

March 26-April 14, 1928 -- Water Colors by John Whorf

April, 1928 -- Water Colors by William Ritschel, N.A.

April 15-May 5, 1928 -- Portrait Drawings in Pastel by Jessie Voss Lewis

Oct. 22-Nov. 3, 1928 -- Water Colors of France and Italy, and Etchings by Louis Wolchonok

Oct. 22-Nov. 3, 1928 -- Poetic Landscapes with Figures by Henry M. Rosenberg of Nova Scotia

Nov. 19-Dec. 1, 1928 -- Water Colors by Frank W. Benson

Nov. 19-Dec. 1, 1928 -- Water Colors of Architectural Subjects in France, Also Landscape and Figures by William de Leftwick Dodge

Dec. 1-28, 1928 -- Alfred Hutty

Dec. 3-24, 1928 -- Important Exhibition of Early and Recent Works by Childe Hassam of the American Academy of Arts and Letters

Dec. 3-24, 1928 -- Still Life Paintings by Ruth Payne Burgess

Dec. 20-Jan. 8, 1929 -- Drawings by Frank di Gioia

Dec. 20-Jan. 8, 1929 -- Memorial Exhibition, Water Color Sketches by Thomas Moran, N.A.

Dec. 27-Jan. 14, 1929 -- Erick Berry

Dec. 27-Jan. 14, 1929 -- Helen K. McCarthy Memorial Exhibition

Dec. 29-Jan. 14, 1929 -- Paintings by Jacob Dooyewaard

circa 1928 -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Jan. 28-Feb. 9, 1929 -- Painitings of Western Life by F. Tenney Johnson

Jan. 28-Feb. 9, 1929 -- Paintings and Water Colors by Alice Judson

Feb. 11-23, 1929 -- Paintings and Drawings by Max Bohm

Feb. 11-23, 1929 -- Landscapes and Marines by Jay Connaway

Feb. 25-March 9, 1929 -- Water-Colors by Harold Putnam Browne

Feb. 25-March 9, 1929 -- Paintings by Truman Fassett

March 11-23, 1929 -- Recent Water Colors by C.E. Polowetski

March 11-23, 1929 -- Louis Ritman

March 25-April 6, 1929 -- Landscapes by Frank Vincent Du Mond

March 25-April 6, 1929 -- Water Colors by Armin Hansen of California

March 25-April 6, 1929 -- Sculptures by Roy Sheldon

April 8-20, 1929 -- Water Colors by John Whorf, Distinguished Young Boston Artist

Oct. 21-Nov. 2, 1929 -- Corners in Spain, An Exhibition of Paintings by Wells M. Sawyer

Nov. 4-17, 1929 -- Recent Sculpture by Heinz Warnecke

Nov. 4-16, 1929 -- Paintings of Ireland and Other Scenes by Power O'Malley

Nov. 18-30, 1929 -- Group of Recent Paintings by Hayley Lever

Nov. 18-30, 1929 -- Recent Water Colors and Etchings by Louis Wolchonok

Dec. 2-21, 1929 -- Paintings by Maurice Fromkes

Jan. 30-Feb. 11 [192?] -- Water Colors of Greek Temples in Sicily by Wm. De Leftwich Dodge

Feb. 2-15 [192?] -- Figure Paintings by Murray Bewley

March 15-April 3 [192?] -- Paintings by Willard L. Metcalf

March 28-April 16 [192?] -- Paintings by Henry Golden Dearth

April 2-21 [192?] -- Landscape Paintings by Bruce Crane, N.A

Oct. 17-29 [192?] -- Water Colors of the Rivera by Ferris Connah

Oct. 18-30 -- Paintings and Drawings by George Wharton Edwards

Oct. 25-Nov. 13 [192?] -- Recent Landscapes by John F. Carlson, N.A.

Oct. 25-Nov. 13 [192?] -- John F. Carlson

[192?] -- Indian and Animal Pictures and Bronzes by Edwin Willard Deming

Nov. 19-Dec. 1 [192?] -- Water Colors of Architectural Subjects in France, also Landscape and Figures by William De Leftwich Dodge

Jan. 20-Feb 1, 1930 -- West African Water Colors by Erick Berry

Jan. 20-Feb. 1, 1930 -- Paintings by Nelson C. White

Feb., 1930 -- Thelma Wood

Feb. 3-15, 1930 -- Paintings by Horace Brown

Feb. 17-March 1, 1930 -- Paintings by Francis Speight

Feb. 17-March 1, 1930 -- Paintings by Ruth Payne Burgess

March 3-15, 1930 -- Paintings by John Noble

March 17-29, 1930 -- Russian Paintings by Irwin D. Hoffman, Also a Group of Recent Watercolors

March 17-29, 1930 -- Alexander Warshawsky

March 31-April 12, 1930 -- Memorial Exhibition, Paintings and Watercolors of Sigurd Skou

March 31-April 12, 1930 -- Emmanuel Andrew Cavacos

April 14-26, 1930 -- Water Colors by John Whorf

Oct. 20-Nov. 1, 1930 -- Recent Paintings of Lake Como by Charles Warren Eaton

Nov. 3-15, 1930 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Nov. 17-29, 1930 -- Joseph Szekely

Nov. 17-29, 1930 -- Important Exhibiton of Paintings by a "Group of Americans"

Dec. 1-13, 1930 -- Diana Thorne and Canine Portraiture

Dec. 1-13, 1930 -- Recent Paintings of Ireland by Power O'Malley

Dec. 1-13, 1930 -- Paintings by Charles M. Cox of Boston

Jan. 19-31, 1931 -- Portraits by Jere R. Wickwire

Jan. 20-Feb. 1, 1931 -- Nelson C. White

Jan. 24-Feb. 7, 1931 -- Pastels and Etchings of Angkor and the Far East by Lucille Douglass

Feb. 2-24, 1931 -- Recent Paintings by Lillian Gentle

Feb. 2-24, 1931 -- Impressions of India and Palestine by Ruth Coleman

Feb. 16-28, 1931 -- Watercolors of Vermont Scenes and Other Views by Ruth Payne Burgess

Feb. 16-28, 1931 -- Martha Walter Recent Work in Oil and Watercolor

March 2-14, 1931 -- Recent Paintings by Alice Judson

March 2-28, 1931 -- Paintings & Drawings by Gari Melchers

March 16-28, 1931 -- Recent Watercolors by Harold Putnam Brown

March 30-April 11, 1931 -- Paintings by Louis Kronberg

March 30-April 11, 1931 -- Watercolors by John Whorf

April 13-25, 1931 -- Americans by American Artists, Exhibition of Portraits

April 13-25, 1931 -- Louis Kronberg

April 13-25, 1931 -- Portraits and Crayon Heads by Ferris Connah

April 13-May 2, 1931 -- Abbott H. Thayer

Sept. 22-Oct. 6, 1931 -- Water Colors by Gladys Brannigan, Alice Judson, Margery Ryerson

Oct. 19-30, 1931 -- Portraits by William Steene

Nov. 2-7, 1931 -- Portraits and Sketches by Maria Kammerer under the Patronage of Countess Laszlo Szechenyi

Nov. 9-21, 1931 -- Paintings by Bessie Lasky

Nov. 23-Dec. 5, 1931 -- Recent Oils, Water Colors and Etchings by Joseph Margulies

Dec. 7-21, 1931 -- Recent Paintings by George Wharton Edwards

Dec. 7-19, 1931 -- Paintings and Etchings of African and American Big Game by Major A. Radclyffe Dugmore

Dec. 7-19, 1931 -- Watercolors of Yucatan, "Land of the Mayas" by William de Leftwich Dodge

Dec. 20-Jan. 8, 1932 -- Water Colors of the Yellowstone and Mexican Series by Thomas Moran, N.A.

Jan. 11-23, 1932 -- Paintings, Watercolors and Etchings of Animals by Sybilla Mittell Weber

Jan. 25-Feb. 6, 1932 -- Paintings by George Oberteuffer, Member of the Salon d'Automne, Paris

Feb. 8-March 5, 1932 -- Important 19th and 20th Century American Painters

March 7-19, 1932 -- Paintings by Mrs. B. King Couper

March 7-19, 1932 -- Drawings by Maurice Sterne, Ernest Fiene, Alexander Brook, yasuo Kuniyoski, Bernard Karfiol, Peggy Bacon, and Leon Kroll

March 28-April 9, 1932 -- Watercolors by John Whorf

April 11-30, 1932 -- Forty Years of American Art

Oct. 3-15, 1932 -- New Paintings by American Artists

Oct. 19-Nov. 5, 1932 -- Paintings by Stephen Etnier

Nov. 7-30, 1932 -- Paintings by Edward Bruce

circa 1932 -- Recent Paintings by Stephen Etnier

Jan.30-Feb. 25, 1933 -- Important Exhibition of Paintings by Thomas Eakins

March 6-25, 1933 -- 19th and 20th Century Watercolors

March 27-April 14, 1933 -- Paintings by Francis Speight

April 17-May 6, 1933 -- Water Colors by John Whorf

May 15-31, 1933 -- 19th Century American Landscape Artists

Nov. 27-Dec., 1933 -- Water Colors by Emil Holzhaur

Feb. 26-March 17, 1934 -- Paintings by Stephen Etnier

March 19-April 7, 1934 -- Water Colors by John Whorf

April 16-May 5, 1934 -- Bali Studies by Maurice Sterne

June-Aug., 1934 -- Paintings by American Artists

Sept., 1934 -- Paintings by American Artists

Oct. 15-Nov. 3, 1934 -- New and Recent Paintings by American Artists

Nov. 5-21, 1934 -- Paintings by Sidney Laufman

Nov. 26-Dec., 1934 -- Recent Vermont Landscapes by Edward Bruce

circa 1934 -- American Figure Paintings of the 19th and 20th Century

Jan. 7-26, 1935 -- Paintings and Watercolors from the Samuel Halpert Estate

Feb. 4-28, 1935 -- Small Paintings by 19th and 20th Century American Artists

March 4-22, 1935 -- Recent Paintings by Stephen Etneir

March 25-April 13, 1935 -- Water Colors by John Whorf

April 22-May 11, 1935 -- Figure and Landscape Studies by Leon Kroll

May 20-June, 1935 -- Group Exibhition of Paintings

Summer, 1935 -- Paintings by American Artists

Oct. 1-26, 1935 -- Paintings by Childe Hassam

Oct. 28-Nov. 16, 1935 -- Watercolors by Millard Sheets

through Dec., 1935 -- Paintings by Americans

Jan. 1936 -- Paintings by Americans

Feb. 3-29, 1936 -- Important Exhibition of 19th and 20th Century American Painters

March 2-21, 1936 -- Stephen Etnier

March 30-April 19, 1936 -- Watercolors by John Whorf

May 18-June, 1936 -- Paintings by American Artists

Summer, 1936 -- Paintings by American Artists

September, 1936 -- Paintings by American Artists

Oct. 12-31, 1936 -- Contemportary Viewpoint

through Nov. 30, 1936 -- 19th and 20th Century American Figure Paintings

circa 1936 -- Landscapes--Contemporary Viewpoint

Jan. 11-30, 1937 -- Selected Landscapes

Feb., 1937 -- Contemporary American Sculpture

March 15-April 3, 1937 -- Watercolors by Millard Sheets

April 12-30, 1937 -- John Whorf

April 27-May 16, 1937 -- Maurice Sterne

May, 1937 -- Paintings by American Artists

Summer, 1937 -- Paintings

Oct. 1-15, 1937 -- Recent Watercolors

Oct. 18-Nov. 6, 1937 -- Paintings by Lucille Blanche

Nov. 8-30, 1937 -- Paintings by American Artists

Dec. 6-24, 1937 -- Watercolors by Lester Field

Jan. 3-22, 1938 -- Recent Paintings by Stephen Etnier

Jan. 24-Feb. 5, 1938 -- Paintings by Margaret Cooper

Feb. 7-26, 1938 -- Colonial Portraits

March 7-26, 1938 -- Recent Oils and Watercolors by Millard Sheet

April 4-23, 1938 -- Recent Watercolors by John Whorf

Summer, 1938 -- Paintings by American Artists

through Oct., 1938 -- Paintings by American Artists

Oct. 24-Nov. 12, 1938 -- Recent Watercolors by Karl Oberteuffer

Nov. 21-Dec. 17, 1938 -- Paintings for the Home by American Artists

Jan. 16-Feb. 4, 1939 -- Recent Paintings by Floyd Clymer

Feb. 6-25, 1939 -- Harry Hering

March 6-31, 1939 -- Figure Paintings by American Artists

April 3-22, 1939 -- Recent Watercolors by John Whorf

May 15-June 3, 1939 -- Recent Watercolors by Millard Sheets

Summer, 1939 -- Selected Group of Paintings by American Artists

Sept., 1939 -- Paintings and Watercolors by American Artists

through Oct. 13, 1939 -- Recent Paintings by a Group of American Artists

Oct. 16-Nov. 4, 1939 -- Recent Paintings by Saul Schary

Nov. 13-Dec. 2, 1939 -- Toreros and Dancers of Spain and Mexico by Carlos Ruano Llopis

Dec., 1939 -- Paintings for the Home

Nov. 5-17 [193?] -- Table Portraits by Eulabee Dix

[193?] -- Paintings by American Artists

Jan. 2-27, 1940 -- Stephen Etnier

Feb. 12-March 2, 1940 -- Recent Watercolors by Robert Carson

March 11-30, 1940 -- Daniel Serra Paintings

April 8-27, 1940 -- Recent Watercolors by John Whorf

April 28-May 18, 1940 -- Rubin Recent Paintings

through June 29, 1940 -- Paintings by a Selected Group of American Artists

through Sept. 28, 1940 -- Summer Exhibition of Paintings by a Selected Group of Early and Contemporary American Artists

Oct. 1-19, 1940 -- Recent Paintings by a Selected Group of American Artists

Oct. 21-Nov. 9, 1940 -- Recent Watercolors by Allen Ingles Palmer

Nov. 18-Dec. 7, 1940 -- Helen Sawyer

Dec., 1940 -- Selected Paintings for the Home, and A Group of Original Studies in Color by Maurice Sterne

Jan. 13-Feb. 8, 1941 -- Watercolors by American Artists

Feb. 17-March 15, 1941 -- Paintings by Stephen Etnier, Sidney Laufman, and Francis Speight

April 7-26, 1941 -- Recent Watercolors by John Whorf

April 28-May 17, 1941 -- Remembrances of South America and British West Indies by Manicol

May 19-June 30, 1941 -- Group of Paintings by Selected Contemporary American Artists

Summer, 1941 -- Exhibition of Selected Paintings by American Artists

Sept., 1941 -- A Selected Group of Paintings by Americna Artists

Oct. 6-25, 1941 -- Recent Paintings by a Selected Group of American Artists

Oct. 27-Nov. 15, 1941 -- Eliot O'Hara Watercolors

Nov. 17-Dec. 5, 1941 -- Recent Paintings by Jay Connaway

Nov. 17-Dec. 6, 1941 -- Recent Watercolors by Richard A. Kimball

Dec. 8-27, 1941 -- Edith Blum Paintings

Jan. 5-24, 1942 -- Recent Paintings by Stephen Etnier

through Feb. 28, 1942 -- Selected Paintings by a Group of Contemporary American Artists

March 9-28, 1942 -- New Talents Presented by the Gloucester Society of Artists

April 6-25, 1942 -- Recent Watercolors by John Whorf

May, 1942 -- Selected Paintings by Contemporary American Artists

June 2-13, 1942 -- Yun Gee

Summer, 1942 -- Selected Paintings by Early and Contemporary American Artists

Summer, 1942 -- Paintings by Selected American Artists

Oct. 5-31, 1942 -- Recent Paintings by a Selected Group of American Artists

Nov. 9-30, 1942 -- Watercolors by American Artists

Jan. 18-Feb. 6, 1943 -- Paintings by Yovan Radenkovitch

April 4-24, 1943 -- Recent Watercolors by John Whorf

April 26-May 15, 1943 -- Paintings and Watercolors by Childe Hassam

May 25-June 5, 1943 -- Exhibition by Gladys Irene Cook

June, 1943 -- Selected Paintings by American Artists

Summer, 1943 -- Exhibition of Paintings by American Artists

Sept., 1943 -- Paintings by a Selected Group of American Artists

Oct. 4-23, 1943 -- Paintings by Yun Gee

Nov., 1943 -- Recent Paintings by a Selected Group of American Artists

Jan. 24-Feb. 12, 1944 -- Recent Watercolors by James Fitzgerald

Feb. 14-March 4, 1944 -- Paintings by Sidney Laufman

March 6-25, 1944 -- Paintings by Jessie Ansbacher

April 3-22, 1944 -- Recent Watercolors by John Whorf

May, 1944 -- Paintings by Important American Artists

Summer, 1944 -- Exhibition of Paintings by a Selected Group of American Artists

Summer, 1944 -- Exhibition of Selected Paintings by a Group of American Artists

Oct. 2-21, 1944 -- Recent Paintings by Jay Connaway

Oct. 23-Nov. 11, 1944 -- Harry Hering

Nov. 13-Dec. 2, 1944 -- Paintings by Hobson Pittman

Dec., 1944 -- Paintings for the Home by American Artists

Jan. 3-13, 1945 -- Paintings by Therese Steinhardt

Jan. 22-Feb. 10, 1945 -- Louis Ritman

Feb. 18-, 1945 -- Memorial Exhibition, Paintings and Pastels by William Henry Singer, Jr., N.A.

Feb. 19-March 10, 1945 -- Recent Watercolors by Eliot O'Hara, A.N.A. (Elect)

March, 1945 -- Paintings by a Selected Group of Contemporary Artists

April 9-28, 1945 -- Recent Watercolors by John Whorf

May, 1945 -- Paintings by American Artists, Late 19th and Early 20th Century

Summer, 1945 -- Paintings by a Selected Group of Contemporary American Artists

Oct., 1945 -- Paintings by a Group of Selected American Artists

Oct. 22-Nov. 10, 1945 -- Helen Sawyer

Nov. 19-Dec. 1, 1945 -- Recent Paintings by Stephen Etnier

Nov. 19-Dec. 8, 1945 -- Hilde Kayn

Dec., 1945 -- Paintings for the Home by American Artists

Dec. 31-Jan. 19, 1946 -- Paintings by Stpehen Etnier

Jan. 28-Feb. 16, 1946 -- Paintings by Alexandra Pregel

Feb. 18-March 9, 1946 -- W.H. Singer

March 11-30, 1946 -- Paintings by American Artists

April 8-27, 1946 -- Recent Watercolors by John Whorf

Summer, 1946 -- Paintings by 19th and 20th Century Americans

Oct. 7-26, 1946 -- Recent Watercolors by Allen Ingles Palmer

Oct. 28-Nov. 16, 1946 -- Paintings by Ferdinand Warren

Nov. 18-Dec. 7, 1946 -- Louis Di Valentin

Dec. 9-29, 1946 -- Recent Watercolors by Wm. F.C. Ewing and Richard A. Kimball

Jan., 1947 -- Paintings by Selected American Artists

Jan. 13-Feb. 1, 1947 -- Gerrit V. Sinclair Paintings

Feb. 3-21, 1947 -- Recent Watercolors by Jerri Ricci

Feb. 24-March 15, 1947 -- Childe Hassam Paintings

March 31-April 19, 1947 -- Recent Watercolors by John Whorf

April 21-May 10, 1947 -- Pastels of Charleston by Hobson Pittman

June 2-13, 1947 -- Yun Gee

Oct. 6-25, 1947 -- Special Exhibition of American Paintings Honoring the Great Artists Who Have Been Shown in Our Galleries

Oct. 27-Nov. 15, 1947 -- New Paintings, Oil Studies, and Drawings by Leon Kroll

Nov. 17-Dec. 6, 1947 -- F. Douglas Greenbowe Watercolors

Jan. 19-Feb. 7, 1948 -- Paintings by Alexandria Pregel

March 22-April 3, 1948 -- American Art

March 22-April 3, 1948 -- Paintings by Artists Equity Association Members

May, 1948 -- Paintings by a Group of Selected American Artists

May 24-June 5, 1948 -- Paintings by New York Artists, 16th Exhibition of the Arthur Schwieder Group

Oct. 5-23, 1948 -- Impressions of New York

Oct. 25-Nov. 13, 1948 -- Paintings by Ernest Lawson

Nov. 15-27, 1948 -- Sculpture by Eleanor M. Mellon

Dec. 20-Jan. 8, 1949 -- Drawings by Frank di Gioia

Jan. 10-29, 1949 -- Six Watercolorists [Greenbowie, Knauth, Newman, Palmer, Ricci and Whorf]

Jan. 31-Feb. 19, 1949 -- New Paintings by Ferdinand Warren

Feb. 21-March 12, 1949 -- Paintings by Louis Di Vanentin

April 4-23, 1949 -- Recent Watercolors by John Whorf

April 25-May 7, 1949 -- Paintings by Mildred Hayward

May 9-21, 1949 -- Paintings by New York Artists, 17th Exhibition of the Arthur Schwieder Group

June 17-July 5, 1949 -- Paintings by Guy Pene DuBois

Oct. 4-29, 1949 -- Opening Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

Oct. 24-Nov. 12, 1949 -- Recent Watercolors by Henry Edmiston

Nov. 14-Dec. 3, 1949 -- Paintings by John H. Twachtman

Dec. 5-24, 1949 -- F. Douglas Greenbowe Watercolors

[194?] -- Paintings for the Home by American Artists

June [194?] -- 2-13Yun Gee

Jan. 9-28, 1950 -- Paintings by Gordon Samstag

Jan. 30-Feb. 18, 1950 -- George C. Ault Memorial Exhibition

Feb. 20-March 11, 1950 -- Recent Paintings by David Burr Moreing

March 13-April 1, 1950 -- Paintings by Frank di Gioia

April 3-22, 1950 -- Recent Watercolors by John Whorf

April 24-May 13, 1950 -- Paintings by Contemporary American Artists

May 15-27, 1950 -- Paintings by New York Artists, 18th Exhibition of the Arthur Schwieder Group

Oct. 2-21, 1950 -- Recent Paintings by Benjamin Kopman

Nov. 13-Dec. 2, 1950 -- Paintings by Stephen Etnier

Dec. 4-30, 1950 -- Special Exhibition of American Paintings in Honor of the Philadelphia Museum of Art Diamond Jubilee

through Dec. 23, 1950 -- Watercolors and Drawings by Frank di Gioia

Jan. 8-27, 1951 -- New Gouaches of the Circus and Theatre by Walter Philipp

Jan. 29-Feb. 17, 1951 -- Louis Ritman Paintings

Feb. 19-March 10, 1951 -- Recent Watercolors by Jerri Ricci

March 12-31, 1951 -- Paintings, Panels, Figures of Africa, Belgian Congo, Bechuanaland, and Rhodesia by Jay Robinson

April 2-21, 1951 -- Recent Watercolors by John Whorf

April 24-May 12, 1951 -- Sculpture and Drawings of Nicolaus Koni

May 21-June 1, 1951 -- Paintings by New York Artists, 19th Exhibition of the Arthur Schwieder Group

Oct. 22-Nov. 10, 1951 -- Recent Paintings by Thomas Blagden

Nov. 12-Dec. 1, 1951 -- Recent Paintings by David Burr Moreing

Dec., 1951 -- Group Exhibition

Jan. 7-26, 1952 -- Paintings of Italy and "Little Italy" by Frank di Gioia

Jan. 28-Feb. 16, 1952 -- London to Algiers, Recent Watercolors by Eliot O'Hara, N.A.

Feb. 18-March 8, 1952 -- Recent Paintings by Jacques Zucker

April 7-26, 1952 -- Recent Watercolors by John Whorf

April 28-May. 10, 1952 -- Paintings by Alexandra Pregel

May 12-24, 1952 -- Paintings by New York Artists, 20th Exhibition of the Arthur Schwieder Group

Oct. 28-Nov. 15, 1952 -- Paintings by John Sharp

Nov. 17-Dec. 6, 1952 -- Stephen Etnier: Recent Paintings

Dec. 8-27, 1952 -- Childe Hassam Watercolors

Jan. 5-24, 1953 -- Jay Robinson

Jan. 26-Feb. 14, 1953 -- Iver Rose

Feb. 16-March 7, 1953 -- Recent Watercolors by Jerri Ricci

April 6-25, 1953 -- Recent Watercolors by John Whorf

May 18-29, 1953 -- Richard Whorf

May 18-29, 1953 -- Paintings by New York Artists, 21st Exhibition of the Arthur Schwieder Group

June, 1953 -- Paintings and Watercolors by 19th and 20th Century American Artists

Oct., 1953 -- Paintings and Watercolors by American Artists

Oct. 26-Nov. 14, 1953 -- Recent Paintings by David Burr Moreing

Nov. 17-Dec. 5, 1953 -- Ogden W. Pleissner Recent Paintings

Dec. 7-30, 1953 -- Recent Landscapes by Sidney Laufman

Jan. 4-23, 1954 -- Paintings of New York's "Little Italy" by Frank di Gioia

Jan. 25-Feb. 13, 1954 -- Round the World by Watercolor with Eliot O'Hara, N.A.

Feb. 15-March 6, 1954 -- Hobson Pittman

March 8-27, 1954 -- Jay Robinson: Kentucky, Part II

April 5-24, 1954 -- John Whorf Watercolors

May 17-28, 1954 -- Paintings by New York Artists, 22nd Exhibition of the Arthur Schwieder Group

Oct. 25-Nov. 13, 1954 -- Recent Watercolors by James Vance

Nov. 15-Dec. 4, 1954 -- Stephen Etnier Recent Paintings

Dec. 6-24, 1954 -- Recent Paintings by Thomas Blagden

Jan. 3-22, 1955 -- Recent Paintings by Jacques Zucker

Jan. 24-Feb. 12, 1955 -- Recent Watercolors by Jerri Ricci

Feb. 14-March 5, 1955 -- Paintings of Spain and Her People by Maurice Fromkes

April 25-May 14, 1955 -- Gluckmann Recent Paintings

May 16-27, 1955 -- Paintings by New York Artists, 23rd Exhibition of the Arthur Schwieder Group

Oct. 24-Nov. 12, 1955 -- Paintings and Gouaches by John Taylor

Nov. 14-Dec. 3, 1955 -- Paintings and Panels by Jay Robinson of West and Central Africa

Dec. 5-30, 1955 -- Childe Hassam and American Impressionism

Jan., 1956 -- Recent Paintings by a Group of American Artists

Feb. 6-25, 1956 -- F. Douglas Greenbowe Watercolors

March, 1956 -- Group Exhibition

April 9-28, 1956 -- John Whorf Watercolors

May, 1956 -- Paintings by a Group of 18 American Artists

May 7-19, 1956 -- Paintings by New York Artists, 24th Exhibition of the Arthur Schwieder Group

Nov. 5-24, 1956 -- Stephen Etnier Recent Paintings

Nov. 27-Dec. 15, 1956 -- Ogden M. Pleissner Recent Paintings

Dec. 1-Jan. 19, 1957 -- Jay Robinson Paintings in Fired Enamel on Copper

Feb. 11-March 2, 1957 -- Recent Paintings by Thomas Blagden

March 4-23, 1957 -- Adolph Dehn

April 15-May 4, 1957 -- John Whorf Watercolors

Oct. 28-Nov. 16, 1957 -- Recent Still Life Paintings by Aaron Bohrod

Jan. 13-Feb. 8, 1958 -- Recent Paintings by a Group of Contemporary Americans

Feb. 10-March 8, 1958 -- Long Island Paintings by Childe Hassam

March 10-29, 1958 -- Paintings by Louis Di Valentin

March 31-April 19, 1958 -- Recent Paintings by Sidney Laufman

April 21-May 10, 1958 -- John Whorf Watercolors

May, 1958 -- Americans: 1865-1925

June, 1958 -- Exhibit to Benefit Friends of the Whitney Museum

June 3-27, 1958 -- American Paintings and Sculpture

Oct. 6-25, 1958 -- Recent Paintings by David Shapiro

Oct. 27-Nov. 15, 1958 -- Stephen Etnier Recent Paintings

Nov. 17-Dec. 6, 1958 -- Paul Sample Recent Paintings

Dec. 8-24, 1958 -- Recent Drawings and Watercolors of France, Italy, Spain, and North Africa by Frank di Gioia

Jan. 19-Feb. 7, 1959 -- Marion Greenwood Paintings

March 2-21, 1959 -- Leon Kroll Paintings and Drawings

March 23-April 18, 1959 -- Elmer L. Mac Rae Forgotten Artist of the 1913 Armory Show

May 4-23, 1959 -- Philip Visson

Oct., 1959 -- Paintings by American Artists

Oct. 26-Nov. 14, 1959 -- Recent Painting by Aaron Bohrod

Nov. 17-Dec. 5, 1959 -- Ogden M. Pleissner Recent Paintings

Dec. 7-30, 1959 -- Recent Oils and Watercolors by Thomas Blagden

Jan. 18-Feb. 6, 1960 -- Elmer L. Mac Rae, Re-Discovered Artist of the 1913 Armory Show and a Founder of "The Pastellists"

through Jan. 15, 1960 -- Paintings by American Artists

March 14-April 2, 1960 -- Xavier Gonzalez Recent Paintings

April 4-23, 1960 -- Paintings by Louis Bosa

April 25-May 14, 1960 -- Grigory Gluckmann

May-June, 1960 -- Group of Contemporary Armerican Artists

Oct. 10-29, 1960 -- Adolf Dehn Caseins and Watercolors

Oct. 31-Nov. 19, 1960 -- Stephen Etnier

Dec., 1960 -- Paintings for the Home

Jan., 1961 -- Group Exhibition, 19th and 20th Century Americans

Jan. 30-Feb. 18, 1961 -- Recent Watercolors by Jerri Ricci

Feb. 20-March 11, 1961 -- Frank di Gioia Recent Paintings

March 20-April 8, 1961 -- David Fredenthal Memorial Exhibition

April 10-29, 1961 -- Allen Tucker

May, 1961 -- Contemporary American Artists

June-July, 1961 -- 19th & 20th Century American Artists

Oct. 10-28, 1961 -- David Shapiro Recent Paintings

Oct. 31-Nov. 18, 1961 -- Aaron Bohrod

Nov. 21-Dec. 9, 1961 -- Thomas Fransioli

Feb. 6-24, 1962 -- Retrospective Exhibition, Maurice Sterne

March 6-24, 1962 -- Three Watercolorists: Childe Hassam, John Whorf, and David Fredenthal

April 3-21, 1962 -- Thomas Blagden

April 24-May 12, 1962 -- Grigory Gluckmann

Summer, 1962 -- Gallery Group of Contemporary Americans

Sept., 1962 -- 19th & 20th Century American Artists

Oct., 1962 -- Gallery Group of Contemporary Americans

Oct. 30-Nov. 17, 1962 -- Stephen Etnier

Nov. 21-Dec. 8, 1962 -- Pleissner Recent Paintings

Dec., 1962 -- Group Exhibition

Jan. 22-Feb. 9, 1963 -- Paul Sample Recent Paintings

Feb. 11-March 2, 1963 -- Group of Contemporary Americans

March 5-23, 1963 -- Gouaches by John Taylor

March 26-April 13, 1963 -- Fletcher Martin Recent Paintings

April-May, 1963 -- Gallery Group-Contemporary Americans

Oct. 8-26, 1963 -- David Shapiro Recent Work

Oct. 30-Nov. 16, 1963 -- Xavier Gonzalez Recent Watercolors

Nov. 19-Dec. 7, 1963 -- New Paintings by Aaron Bohrod

April, 1964 -- Watercolors and Pastels

April 21-May 9, 1964 -- Grigory Gluckmann

May 13-29, 1964 -- Frank di Gioia Recent Paintings

Oct., 1964 -- Group Exhibition

Nov. 3-21, 1964 -- Stephen Etnier

Nov. 24-Dec. 12, 1964 -- Thomas Blagden

Jan., 1965 -- Comtemporary American Artists

Feb. 2-14, 1965 -- Figure Paintings by Murray Bewley

Feb. 2-14, 1965 -- Exhibition by George Biddle

Feb. 11-23, 1965 -- Paintings and Drawings by Max Bohm

Feb. 14-26, 1965 -- Paintings by Arthur C. Goodwin

Feb. 16-28, 1965 -- Water Colors by Matilda Browne

Feb. 16-March 6, 1965 -- Water Colors by Adolf Dehn

March, 1965 -- 19th and 20th Century American Artists

March 1-13, 1965 -- Bruce Crane, N.A.

March 6-25, 1965 -- Pastels of the Cascapedia River, Canada, by Arthur C. Goodwin

March 26-April 7, 1965 -- Paintings by Howard Russell Butler, N.A.

March 23-April 10, 1965 -- Paintings by Dan Lutz

March 28-April 16, 1965 -- Paintings by Henry Golden Dearth

April 2-21, 1965 -- Landscape Paintings by Bruce Crane, N.A.

April 13-May 1, 1965 -- Paintings by Louis Bosa

April 16-28, 1965 -- Water Colors and Etchings by Adolphe W. Blondheim

May, 1965 -- Gallery Contemporaries

Oct. 25-Nov. 13, 1965 -- Recent Landscapes by John F. Carlson, N.A.

Oct. 26-Nov. 13, 1965 -- Twenty-Four New Paintings by Aaron Bohrod, Artist in Residence, University of Wisconsin

Nov. 2-14, 1965 -- Paintings by Ann Crane

Nov. 5-17, 1965 -- Memorial Exhibition of Paintings of Venice by Wm. Gedney Bunce, N.A.

Nov. 7-19, 1965 -- Paintings and Sculpture by Matilda Browne

Nov. 16-Dec. 4, 1965 -- Electra Bostwick

Dec. 7-30, 1965 -- Recent Drawings and Watercolors of European Countries and North Africa by Frank di Gioia

Jan. 11-29, 1966 -- Georges Schreiber Watercolors: 1963-1965

Jan.-Feb., 1966 -- 19th and 20th Century American Artists

Feb.-March, 1966 -- Group Exhibition

June, 1966 -- Group Exhibition

Oct. 11-29, 1966 -- Thomas Blagden

Nov. 1-19, 1966 -- Stephen Etnier

Nov. 22-Dec. 10, 1966 -- Pleissner

Jan. 24-Feb. 11, 1967 -- Xavier Gonzalez

April, 1967 -- Group Exhibition

April 18-May 6, 1967 -- Grigory Gluckmann

July, 1967 -- Group Exhibition

undated -- Etchings and Color-Etchings

undated -- Etchings of China and Cambodia by Lucille Douglass

undated -- Thomas Jefferson Bust in Bronze by Robert Aitken, N.A.

undated -- Paintings by Ossip L. Linde

undated -- Etchings by William Meyerowitz

undated -- Recent Screens and Panels by Roy Mac Nicol

undated -- Summer Exhibition of Paintings and Watercolors by 19th and 20th Century American Artists

undated -- Paintings by Clement

undated -- Important Works in Paintings and Sculpture by Leading American Artists

Jan. 3-14, undated -- Armin Hansen

Jan. 8-27, undated* -- Recent Etchings by William Meyerowitz

Jan. 8-31, undated -- Group of American Figure Paintings, 19th and 20th Century

Jan. 9-21, undated -- Paintings by Katherine Langhorne Adams

Jan. 16-28, undated -- Paintings by Dewitt Parshall, N.A., and Douglass Parshall, N.A.

Jan. 23-Feb. 11, undated -- Paintings by Bruce Crane, Elliott Daingerfield, Granville Smith, and F. Ballard Williams

Jan. 27-Feb. 11, undated -- Willam de Leftwick Dodge

Jan. 28-Feb. 16, undated -- Paintings by Gari Melchers

Jan. 29-Feb. 10, undated -- Paintings of the California Coast by Armin Hansen

Jan. 30-Feb. 11, undated -- Sigrud Skou

Feb. 13-25, undated -- Water Colors by Alice Judson

Feb. 13-25, undated -- Paintings by Guy Wiggins, N.A.

Feb. 13-March 11, undated -- Paintings by H.T. Keasbey

Feb. 15-March 5, undated -- Frederic James

Feb. 17-March 1, undated -- Silver Point Drawings by Thelma E. Wood

Feb. 18-March 6, undated -- Landcapes, Nature Moods Expressed in Terms of Light by Julie Mathilde Morrow

Feb. 18-March 8, undated -- Paintings of Venice, Rome and French Landscape, also Pastel Drawings of the Battle Sectors of the 26th Division, A.E.F. by J. Alden Twachtman

Feb. 27-March 10, undated -- Portrait Busts and Drawings by Alexander Portnoff

March 5-17, undated* -- Pastels of the Hudson River by Arthur C. Goodwin

March 7-16, undated -- Paintings of Africa and Spain by Lillian Genth

March 7-26, undated -- Sigurd Skou

March 8-20, undated -- Paintings by Sigurd Skou

March 10-22, undated -- MacDowell Club of New York City Annual Exhibition of Paintings

March 22-April 10, undated -- Paintings of the Cathedrals of France by Pieter Van Veen

March 26-April 12, undated -- Paintings by E. Martin Hennings

March 26-April 14, undated -- Recent Etchings by Elias M. Grossman

March 28-April 16, undated -- Martha Walter Water Colors of Spain and North Africa

April 5-17, undated -- Paintings by Ernest L. Blumenschein, Victor Huggins, Walter Ufer

April 7-19, undated -- Figure Paintings by Louis Ritman

April 12-23, undated -- Portraits and Figure Paintings by Edith Catlin Phelps

April 12-24, undated -- Paintings of American Gardens by Abbott Graves

April 16-28, undated -- Portrait Drawings in Pastel by Jessie Voss Lewis (Mrs. H.L. Daingerfield Lewis)

April 19-May 1, undated -- Paintings by Valentino Molina

April 21-May 3, undated -- Paintings of Tahiti and California by William Ritschel, N.A.

April 21-May 3, undated -- Leonard Lopp, Glacier Park Artist

April 22-May 15, undated -- Sculpture for House, Garden & Grounds by Leading American Artists, and Pottery by Clara L. Poillon

April 24-May 5, undated -- Paintings by Thalia Millett

April 26-May 15, undated -- Dan Lutz, Mighican Summer and Mexican Sojourn

April 26-May 15, undated -- William H. Singer

April 27-May 16, undated -- Recent Paintings by Gluckmann

May 3-28, undated -- Exhibition of Sculpture for Garden and Grounds by Leading Sculptors

May 5-17, undated -- Recent American Sculpture in Bronze, Wood and Terra Cotta for the Town and Country House, Grounds and Garden

Oct. 11-23, undated -- Paintings by Anna Heyward Taylor

Oct. 25-Nov. 13, undated -- Water Colors by Alice Judson

Oct. 27-Nov. 15, undated -- Paintings and Etchings by William Auerbach-Levy

Oct. 30-Nov. 11, undated* -- Connecticut Landscape Paintings by Robert Nisbet, A.N.A.

Oct. 31-Nov. 12, undated -- Paintings of China and Tibet by Alice Job

Oct. 31-Nov. 14, undated -- Drawings by James Wilkie

Nov. 5-17, undated -- Paintings of Venice

Nov. 15-27, undated* -- Water Colors by Childe Hassam

Nov. 16-Dec. 5, undated -- Recent Etchings by Alfred Hutty

Nov. 16-Dec. 5, undated -- Paintings by W. Elmer Schofield

Nov. 17-29, undated -- Paintings and Etchings by Power O'Malley

Nov. 18-30, undated -- Recent Work in Water Color and Etching by Louis Wolchonok

Nov. 19-Dec. 1, undated -- Winter Landscapes in Water Color by Walter Launt Palmer, N.A.

Nov. 19-Dec. 1, undated -- Painter Friends, Robert H. Nisbet, Guy C, Wiggins, Edward C. Volkert, Wilson Irvine, George M. Bruestle, and Carl J. Nordell

Nov. 23-, undated -- Landscapes by Ault, Brook, Coleman, Karfiol, Ritman, Speight, Sterne, and Weber

Nov. 23-Dec. 6, undated -- Portraits of America's Most Distinguished Women by Leon Gordon

Nov. 24-Dec. 3, undated -- Sculpture by Gleb Derujinsky

Nov. 26-Dec., undated -- Exhibition of Recent Vermont Landscapes by Edward Bruce

Nov. 26-Dec. 5, undated -- Alfred Hutty

Nov. 27-Dec. 9, undated -- Paintings by Sigure Schou

Dec. 1-27, undated -- Works Painted in Spain by Maurice Fromkes

Dec. 1-25, undated -- Annual Holiday Exhibition of Selected Paintings of Limited Size

Dec. 3-29, undated -- Recent Paintings, Water Colors, and Etchings by Hilde Hassam, N.A., of the American Academy of Arts and Letters

Dec. 6-30, undated -- Selected Paintings for the Home by American Artists

Dec. 14-Jan. 2, undated -- Recent Paintings by George Shillard

Dec. 20-Jan. 8, undated -- Selected Small Paintings for the Home

Dec. 27-Jan. 12, undated -- Helen K. McCarthy Memorial Exhibition

Dec. 30-Jan. 18, undated -- Paintings by Stewart McDermot

Dec. 31-Jan. 12, undated -- Second Annual Exhibition in Pure Water Color by The Aquarellists
Provenance:
Milch Gallery gave the Archives of American Art a small selection of correspondence, photographs, and printed matter, and loaned a few other items in 1966-1967; these records were microfilmed on reels D285, N730, and NM1-NM2. Records of the Milch Gallery were purchased from the estate of Harold C. Milch by Elliott Galleries of New York City, and subsequently acquired by Salander-O'Reilly Galleries, which donated them to the Archives in 1986. With the exception of the scrapbook about Thomas Moran (reel N730; present location of the original is unknown), prior loans and gifts from Milch Gallery were incorporated and refilmed with the 1986 gift.

Stuart Feld of Hirschl & Adler Galleries donated an additional .8 linear feet of records in 1995. Zachary Ross of Hirschl & Adler Galleries donated 2.2 linear feet in 2014.
Restrictions:
The collection is open for research. Patrons must use microfilm copy.
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:
Gallery owners  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Gallery records
Photographs
Citation:
Milch Gallery records, 1911-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.milcgall
See more items in:
Milch Gallery records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw900ee3d8a-cabd-4224-9627-d7d8d8c4ae3d
EDAN-URL:
ead_collection:sova-aaa-milcgall

Two Women

Artist:
Henri Matisse, French, b. Le Cateau-Cambrésis, 1869–1954  Search this
Medium:
Bronze
Dimensions:
18 3/8 × 10 1/8 × 7 7/8 in. (46.7 × 25.7 × 20 cm)
Type:
Sculpture
Date:
(1907-1908/cast 1908)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Joseph H. Hirshhorn, 1966
Accession Number:
66.3456
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2c3182514-a06e-4363-81ad-6f311c35a15a
EDAN-URL:
edanmdm:hmsg_66.3456

Indian Rhinoceros (Large)

Artist:
Rembrandt Bugatti, Italian, b. Milan, 1884–1916  Search this
Medium:
Bronze
Dimensions:
16 1/8 x 27 1/2 x 9 in. (41 x 69.9 x 22.9 cm)
Type:
Sculpture
Date:
(1910/cast by 1930)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Gift of Mrs. David K. E. Bruce, Washington, DC, 1977
Accession Number:
77.89
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2753b74a7-6b19-47c2-a779-a6eddf1837ab
EDAN-URL:
edanmdm:hmsg_77.89

Hina with Two Attendants

Artist:
Paul Gauguin, French, b. Paris,1848–1903  Search this
Medium:
Tamanu wood with gold paint
Dimensions:
14 5/8 x 5 1/4 x 4 1/4 in. (37.1 x 13.4 x 10.8 cm)
Type:
Sculpture
Date:
(1892)
Credit Line:
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Museum Purchase with Funds Provided Under the Smithsonian Institution Collections Acquisition Program, 1981
Accession Number:
81.1
See more items in:
Hirshhorn Museum and Sculpture Garden Collection
Data Source:
Hirshhorn Museum and Sculpture Garden
GUID:
http://n2t.net/ark:/65665/py2f594bf67-5c47-4c09-8e6c-3dd78f989b42
EDAN-URL:
edanmdm:hmsg_81.1

Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz

Creator:
Lipchitz, Jacques, 1891-1973  Search this
Names:
Buchholz Gallery (New York, N.Y.)  Search this
Curt Valentin Gallery (New York, N.Y.)  Search this
Bassett, Bruce W.  Search this
Cortois, Jenny  Search this
Frank, Mary, 1933-  Search this
Fry, Annette  Search this
Fry, Varian, 1907-1967  Search this
Gaspard, Leon, 1882-1964  Search this
Hay, Gyorgy  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Landau, Gregorio  Search this
Larrea, Juan  Search this
Larrea, Marianne  Search this
Lipchitz, Yulla, 1911-  Search this
Modigliani, Amedeo, 1884-1920  Search this
Rapoport, Nathan, 1911-  Search this
Soula, Camille, 1888-  Search this
Starrels, Celeste  Search this
Starrels, Joel  Search this
Wilkinson, Alan G., 1941-  Search this
Zorach, William, 1887-1966  Search this
Extent:
52.8 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Scrapbooks
Sketches
Designs
Date:
circa 1910-2001
bulk 1941-2001
Summary:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, and biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Scope and Contents note:
The Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz measure 52.8 linear feet and are dated circa 1910-2001, with the bulk of the material from the period 1941-2001. Papers are comprised of sculptor Jacques Lipchitz's personal papers and filmmaker Bruce Bassett's papers relating to Jacques Lipchitz. Lipchitz's personal papers contain personal and professional correspondence, comprising nearly half of the series, along with biographical material, writings by and about Lipchitz, printed material, and photographs documenting Lipchitz's commissions, exhibitions, friendships, and interests. Also found are records relating to the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson. The Bruce Bassett papers relating to Jacques Lipchitz consist mainly of Bassett's extensive audiovisual documentation of Lipchitz's life and art. Also found are paper records related to the audiovisual projects, including letters, business records, printed materials, and production records. A small quantity of material unrelated to Lipchitz is also found among the Bassett material, including video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.

The Jacques Lipchitz biographical material includes an address book, biographical notes, membership cards, rent receipts and a lease, and a survey of Lipchitz's property in Hastings-on-Hudson, NY.

Correspondence is both professional and personal in nature. Approximately 20 percent is in foreign languages. French predominates, followed by Russian; German, Dutch, Italian, Spanish, Latvian, Hebrew, and Yiddish are also represented.

Professional correspondence documents business transactions with architects, potential clients, museum officials, art dealers, and others concerning commissions, exhibition plans, loans of artwork, jury service, etc. Art groups, Jewish organizations and charities wrote to solicit donations of artwork for fundraising events and issued invitations to speak or be a guest of honor. Scholars contacted Lipchitz about their research and requested information about specific works by him, items in his collection, and his opinions on a variety of subjects. Also found are fan letters from aspiring artists seeking advice, and from the general public asking for the opportunity to meet Lipchitz and visit his studio. After the 1952 studio fire, many friends and strangers sent letters of condolence and encouragement.

Correspondence with wife Yulla, nephew Gyorgy Hay, and close friends recounts personal and family news, activities, and sometimes touches on future plans. Among these correspondents are: Jenny Courtois, Varian and Annette Fry, Leo Gaspard, R. Sturgis Ingersoll, Gregorio Landau, Juan and Marianne Larrea, Camille Soula, and Joel and Celeste Starrels.

Eleven small pocket diaries, 1940-1965, contain brief, often sporadic entries noting appointments, events, addresses and phone numbers, notes of expenses, and include some sketches. Among the other writings by Lipchitz are: a notebook containing random notes on sculpture; a list of sculptures destroyed in the 1952 studio fire; short pieces and fragments of writings about sculptors Mary Frank, Natan Rapoport, Auguste Rodin, and William Zorach; a memoir of Amedeo Modigliani; and articles and reflections on contemporary art and the church.

Catalogue raisonné records concern the compilation and production of The Sculpture of Jacques Lipchitz: A Catalogue Raisonné by Alan G. Wilkinson, sponsored by Marlborough Gallery, Inc.

Among the financial records are statements of the sculptor's accounts with Buchholz Gallery and Curt Valentin Gallery, and receipts for Lipchitz Collection purchases. Also found are insurance and tax records, as well as receipts for routine professional expenses and miscellaneous personal expenses.

Artwork consists of a few rough sketches by Lipchitz and several geometric designs by an unidentified artist. Two scrapbooks, 1945-1946, consist of newspaper clippings and a few items from other periodicals that mention Lipchitz or contain reproductions of his work. Volume 2 includes typescripts of an interview and remarks delivered by Lipchitz, both very brief.

Printed material consists of exhibition catalogs and announcements, articles, press releases, books, programs, and reproductions concerning Lipchitz's exhibitions, sculpture, commissions, and events honoring him. Of particular interest are architectural prints showing sites and project details of several commissions. Also found are a variety of printed items about general art topics.

Photographs document people, artwork, project sites and models, exhibition installations, events, and places. People include Jacques Lipchitz, family members, and other individuals. Artwork represented is by Lipchitz and other artists. Views of Lipchitz exhibition installations mainly document solo shows. Photographs of events record a variety of occasions, among them: the opening of Lipchitz's studio in Hastings-on-Hudson, NY; a dedication ceremony for Philip Johnson's Roofless Church in New Harmony, IN, with ornamental gates and a sculpture by Lipchitz; and Lipchitz addressing an anatomy class at Albert Einstein Medical College. Among the pictures of places are Lipchitz's studios in Hastings-on-Hudson, NY, and Pietrasanta, Italy, and a view of Picasso's Paris studio.

The Bruce Bassett papers relating to Jacques Lipchitz contain mostly audiovisual materials from sound and film documentation projects conducted by Bassett with Lipchitz. Found are original sound recordings and photographs from Deborah Stott's 200 hour oral history with Jacques Lipchitz, as well as detailed, typewritten summaries of its content. Records from Bassett's film projects about Lipchitz include original film and sound recordings from Bassett's 40 hours of interviews with Lipchitz from 1971, and film documentation of the posthumous installations of Lipchitz's large-scale sculptures in Philadelphia, New York, and Israel in the late 1970s. In addition to the raw footage from these projects, which is incomplete, the collection contains workprint and final, edited works Bassett created in multiple versions and formats, and paper records documenting the film projects' creation, production, and later use.

Among the papers related to the film projects are scripts, an index to original footage, programming notes, film lab records, exhibition materials, an extensive collection of questions about Lipchitz gathered from the public for the interactive project, and other production records. Other papers include letters from Lipchitz and his wife, business correspondence, financial records, contracts, project files, and printed materials. Other projects by Bassett, unrelated to Lipchitz, are documented in video and sound recordings related to Sidney Lifchez, IBM, Isamu Noguchi, the Storm King Sculpture Center, and Auguste Rodin.
Arrangement note:
The collection is arranged as 2 series:

Missing Title

Series 1: Jacques Lipchitz papers, circa 1910-1999, bulk 1941-1999 (Boxes 1-10, OV 11-12; 9.5 linear feet)

Series 2: Bruce Bassett papers concerning Jacques Lipchitz, 1961-2001 (Boxes 13-67, OV 68-69; 43.3 linear feet)
Biographical/Historical note:
Jacques Lipchitz (1891-1973), an internationally known and influential Cubist sculptor, studied in Paris and established his career there. He fled Paris just before the German occupation, arrived in New York City in 1941, and eventually settled in Hastings-on-Hudson, NY.

Chaim Jacob Lipchitz was born in Druskieniki, Lithuania, then part of the Russian empire. His father, a building contractor from a well-to-do Jewish banking family, expected his son to study engineering as preparation for joining the business. Lipchitz, however, aspired to become a sculptor. With financial help from his mother, and determined to pursue his dream, he left for Paris after graduating from high school in 1909. Once there, Chaim Jacob soon became Jacques, the name he used throughout his life.

He first enrolled at the École des Beaux-Arts as a "free pupil." After his father agreed to provide an allowance, Lipchitz transferred to the Académie Julian to study with sculptor Raoul Verlet. He also attended evening drawing classes at the Académie Colarossi. By 1911 he was working in his own studio. Two years later, Lipchitz's entry in the Salon d'Automne received favorable recognition.

In Paris, his circle of friends and acquaintances grew to include Dr. Albert C. Barnes, Constantin Brancusi, Coco Chanel, Jean Cocteau, André Derain, Ernest Hemingway, Max Jacob, Charles-Édouard Jenneret (Le Corbusier), James Joyce, Fernand Léger, André Lhote, Jean Metzinger, Amédée Ozenfant, Pablo Picasso, Diego Rivera, Chaim Soutine, Gertrude Stein, and Virgil Tompson. Juan Gris and Amedeo Modigliani were his closest friends.

Lipchitz's earliest work was traditional. Exposure to Picasso and other avant-garde artists influenced his style, and by 1915 he was producing purely Cubist sculptures. In 1916, dealer Léonce Rosenberg offered Lipchitz a contract with a monthly stipend. Able to afford assistants, Lipchitz began much larger projects. Over time, as he came to feel that angular forms were devoid of humanity, his style gradually changed. In the 1920s, he began experimenting with "transparencies" - delicate abstract forms with large open spaces for which he developed casting techniques that influenced sculpture for a generation. In the 1950s, he began creating "semi-automatics." These were cast in bronze from forms made by submerging hot wax in water, which sometimes incorporated found objects. Much of Lipchitz's later work was massive, dynamic, and incorporated more naturalistic forms.

In the early 1920s, Lipchitz received multiple commissions from Coco Chanel and Dr. Albert C. Barnes. He became a French citizen in 1924, the year he married poet Berthe Kitrosser, with whom he had lived since 1915. (Their double portrait by Modigliani that Lipchitz commissioned in 1916, now titled The Sculptor Jacques Lipchitz and His Wife Berthe Lipchitz, is in the permanent collection of the Art Institute of Chicago). The following year they moved to a suburban home and studio designed by Le Corbusier.

Léonce Rosenberg's Galerie de l'Effort Moderne presented Lipchitz's first solo exhibition in 1930, and the first important Lipchitz exhibition in the United States was held in 1935 at Brummer Gallery, New York. As the sculptor's reputation grew throughout the 1930s, his work was very much in demand.

As World War II approached, Lipchitz sensed the impending horror of the Nazi regime but was extremely reluctant to leave Paris. With time running out, he finally was persuaded that it was too dangerous to stay. Jacques and Berthe Lipchitz departed for the free zone of Toulouse, and with help from American friends sought asylum in the United States. In June of 1941, they arrived in New York City with some clothing, a portfolio of drawings, and very little money.

Lipchitz, a mature artist with an international reputation, soon attracted invitations to teach. Although finances were tight, the offers were rejected because he understood that any commitment would impede his artistic output. In search of a gallery, he contacted Brummer Gallery, the site of his first American show six years earlier. Although Joseph Brummer had shifted his focus to antiques, he provided an introduction to art dealer Curt Valentin of Buchholz Gallery (later Curt Valentin Gallery), who was sincerely interested in modern sculpture. Valentin went on to represent Lipchitz for well over a decade. Curt Valentin Gallery closed in 1955, a year after the owner's death. Lipchitz then became affiliated with Fine Arts Associates and its many successors (Otto Gerson Gallery, Inc., and Marlborough-Gerson Gallery, Inc.), which represented him for the remainder of his life. Marlborough Gallery, Inc. handled Lipchitz's estate.

Berthe longed to go home after the war, and in 1946 the couple returned to France. But because he and France had changed, Lipchitz soon realized that his future lay in America. He returned to New York after seven months; Berthe remained, and a divorce soon followed.

Within the year, Jacques Lipchitz married Yulla Halberstadt, a fellow refugee who was also a sculptor. Their only child, Loyla Rachel, was born in 1948. The family moved to Hastings-on-Hudson, NY in 1949, and he continued to work at his studio on East 23rd Street in New York City. After a major studio fire in early 1952 destroyed commissions in progress and many other pieces, the sculptor set up a temporary work space at Modern Art Foundry, Long Island City, NY. Several museums, collectors, and friends, quickly raised funds for a new studio, which became a loan at Lipchitz's insistence. A new studio designed by Milton Lowenfish and located within walking distance of Lipchitz's Hastings-on-Hudson home opened in 1953.

During the course of his career, Lipchitz was honored with a large number of solo and retrospective exhibitions at major museums and galleries in Europe, North and South America, and Israel. His work is represented in the permanent collections of world renowned museums and is owned by a wide range of private collectors and institutions.

Lipchitz was an avid art collector. An exhibition of Scythian art at the Hermitage Museum, seen while on a brief trip home in 1912, greatly impressed and inspired him. The result was an intense interest in non-European art, especially African art. He began to collect appealing objects from other cultures, and soon developed a life-long habit of visiting flea markets, antique shops, and galleries on a regular basis in search of items for his growing collection. In addition to ethnographic and ancient art, Lipchitz also bought old masters and 19th century art, and developed a special interest in Géricault. The original collection was abandoned when he left Paris; once settled in the United States, he resumed collecting. A substantial portion of the Lipchitz Collection, with an accompanying scholarly catalogue, was exhibited in 1960 at The Museum of Primitive Art, New York City.

Lipchitz's family was observant and he attended Jewish schools that stressed religious education, but he showed little interest in his faith during his early adult life. However, the establishment of Israel affected him profoundly and, over time, religious themes emerged in Lipchitz's work. He began making arrangements for gifts of sculpture to the Bezalel National Museum and the Israel Museum, developed a friendship with Jerusalem's outspoken Zionist mayor, Theodore Kollek, and in 1963 made his first of many visits to Israel.

He was a Chevalier de la Légion d'Honneur, was elected a member of the American Academy of Arts and Letters, and received awards for artistic achievement from the American Institute of Architects, Boston University, and Brandeis University. The Jewish Theological Seminary, New York, presented him an Honorary Doctorate of Laws degree.

Jacques Lipchitz died in Capri, Italy, May 16, 1973, and is buried in Israel. At his death, several large-scale sculpture commissions were left unfinished, and his wife Yulla took over the projects and saw that the installations were accomplished as planned. These posthumous installations include Government for the People, installed in Philadelphia in 1976, Bellerophon Taming Pegasus, installed at the Columbia University School of Law in New York City in 1977, and Our Tree of Life, installed in Jersusalem in 1978.

Bruce Bassett (1925-2009), a television and film producer, worked for NBC in New York for over 20 years. Bassett met the sculptor Jacques Lipchitz (1891-1973) when they were both living in Hastings-on-Hudson, NY. In 1968, Bassett initiated an extensive oral history project when he realized that Lipchitz, as an English speaker and participant in the birth of modernism in Europe, was the only living artist who could provide an oral record of the beginnings of modern art for an English audience.

From 1968, until his death in 2009, Bassett carried out extensive documentation projects regarding Lipchitz, often in his spare time, under the auspices of two organizations he founded: the Jacques Lipchitz Art Foundation (1968-1975) and Histor Systems (circa 1991-2001). In 1968 Bassett raised funds to enable Deborah Stott to travel to Italy and conduct roughly 200 hours of audio interview with Lipchitz, interviews which cover not only his own history, but also include a complete record of the origins of his extensive collection of primitive art, numbering almost 3000 objects at the time. Bassett himself traveled to Italy and filmed nearly 40 hours of additional interviews with Lipchitz in 1971.

Drawing from these filmed interviews, Bassett created a pioneering interactive program which allowed museum-goers to pose questions to Lipchitz and moments later receive answers in the form of video segments of Lipchitz speaking. He used the same footage to write, produce, and direct a one hour documentary, "Portrait of an Artist: Jacques Lipchitz." Both projects were originally presented to the public in tandem with a retrospective exhibition of Lipchitz's sculpture at the Metropolitan Museum in New York in 1972, and were later revised and updated several times for subsequent distribution and presentation. The last presentation of the interactive project documented in Bassett's papers was held at the Krannert Art Museum of the University of Illinois at Urbana-Champaign in 2001. The interactive project is now online at the Israel Museum website entitled "Ask Jacques Lipchitz a Question," a project Bassett had been working on with Hanno Mott at his death. Bassett had visited the Museum several years earlier to demonstrate the video.

Bassett died in 2009 in New York, NY.
Related Archival Materials note:
Interviews with Lipchitz are represented among the following Archives of American Art collections: Brooklyn Museum interviews of artists; KPFK "Art Scene," interviews by Marian L. Gore; Interviews of artists by Brian O'Doherty; and Interviews relating to American Abstract Artists by Ruth Bowman.

The Tate Archive houses the Jacques Lipchitz collection presented by Rubin Lipchitz, with materials dating from the 1910s-1970s and measuring 9.8 linear feet.

The Israel Museum hosts a website entitled "Ask Jacques Lipchitz a Question," which presents Bruce Bassett's entire interactive project of Lipchitz, described here in series 2.5.2, as a web-accessible video project.
Provenance:
Donated in 2010 by Hanno D. Mott, step-son of Jacques Lipchitz, and also on behalf of Loyla R. Lipchitz and Frank L. Mott.
Restrictions:
Use of original papers requires an appointment. Use of audiovisual materials with no duplicate access copy requires advance notice.
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:
Artists' studios -- Photographs  Search this
Genre/Form:
Diaries
Scrapbooks
Sketches
Designs
Citation:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz, circa 1910-2001, bulk 1941-2001. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.lipcjacq2
See more items in:
Jacques Lipchitz papers and Bruce Bassett papers concerning Jacques Lipchitz
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw91b1a0c38-358c-4de5-bef5-2c27f942b166
EDAN-URL:
ead_collection:sova-aaa-lipcjacq2
Online Media:

Arthur B. Carles papers

Creator:
Carles, Arthur B., 1882-1952  Search this
Names:
Baker, Sarah, 1899-  Search this
Carles, Caroline Robinson  Search this
Ingersoll, R. Sturgis (Robert Sturgis), b. 1891  Search this
Marin, John, 1870-1953  Search this
McCarter, Henry, 1866-1942  Search this
Ottenberg, Perry, 1924-  Search this
Seyffert, Leopold  Search this
Speiser, Maurice J. (Maurice Joseph), 1880-  Search this
Tyson, Carol  Search this
Tyson, Henry  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Extent:
0.92 Linear feet
Type:
Collection descriptions
Archival materials
Diaries
Photographs
Date:
1912-1983
Summary:
The papers of Philadelphia painter Arthur B. Carles measure 0.92 linear feet and date from 1912 to 1983. Found are biographical materials, correspondence, writings and notes, personal business records, printed materials, and photographs.
Scope and Contents:
The papers of Philadelphia painter Arthur B. Carles measure 0.92 linear feet and date from 1912 to 1983. Found are biographical materials, correspondence, writings and notes, personal business records, printed materials, and photographs.

Correspondence is found for Carles and his wife Caroline Robinson Carles and includes letters from Sarah Baker, R. Sturgis Ingersoll, Henry McCarter, John Marin, Leopold Seyffert, Maurice Speiser, Carroll and Henry Tyson, and Franklin Watkins, among others. One diary contains brief entries. Additional writings are by Carles and Perry Ottenberg. Photographs are of Carles, his studio, family and friends, exhibitions, and works of art.
Arrangement:
This collection is arranged as 1 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Arthur B. Carles papers, 1912-1983 (0.6 linear feet; Box 1-2, MGP 3)
Biographical / Historical:
Arthur B. Carles (1882-1952) was a painter and art instructor active in Philadelphia, Pennsylvania.

Born in 1882 in Philadelphia, Arthur B. Carles studied at the Pennsylvania Academy of the Fine Arts from 1900-1907. There he studied with Thomas Pollock Anshutz, Hugh Breckenridge, Henry McCarter, Cecilia Beaux, and William Merritt Chase. Carles traveled to France in 1907 and stayed until 1910, becoming close friends with John Marin and Eduard Steichen. He displayed his work in the Salon d'Automne of 1908.

Upon Carles' return to Philadelphia, he accepted a position at the Pennsylvania Academy as an instructor of French and American modernism. In 1910 his work was included in the "Younger American Painters" show held at Alfred Stieglitz's New York gallery, 291. Also, Stieglitz gave Carles his first one-man show in 1912. Carles exhibited at the Armory Show of 1913.

Arthur Carles had one daughter, painter Mercedes Matter. He married Carolina Robinson as his second wife in 1972. Later in life, he suffered from alcoholism and had a stroke in 1941 that left him unable to paint. Carles died in 1952.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming (reels 1052 and 4270-4273) including correspondence, writings and notes, business material, artwork, photographs, and business records. Loaned materials were returned to the lenders and are not described in the collection container inventory.
Provenance:
A portion of the Arthur B. Carles collection was loaned for microfilming by Steven Casamassima in 1976. Sara F. Swanson and Perry Ottenberg, Philadelphia collectors, donated papers in 1985 and Ottenberg lent additional material for microfilming in 1989.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and not served to researchers.
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:
Art, Modern -- 20th century -- Pennsylvania -- Philadelphia  Search this
Artists' studios -- Photographs  Search this
Painting, Abstract -- Pennsylvania -- Philadelphia  Search this
Painters -- Pennsylvania -- Philadelphia  Search this
Genre/Form:
Diaries
Photographs
Citation:
Arthur B. Carles papers, 1912-1983. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.carlarth
See more items in:
Arthur B. Carles papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98a6644d9-9b9e-4276-a248-ec5a94df3c68
EDAN-URL:
ead_collection:sova-aaa-carlarth
Online Media:

Jean Crotti papers

Creator:
Crotti, Jean, 1878-1958  Search this
Names:
Blancpain, Paul  Search this
Braque, Georges, 1882-1963  Search this
Christian, 1895-1969  Search this
Cocteau, Jean, 1889-1963  Search this
Coudour, Henri  Search this
Crotti, Andre  Search this
Duchamp, Marcel, 1887-1968  Search this
Duchamp, Suzanne, 1889-1963  Search this
Dufy, Raoul, 1877-1953  Search this
Everling, Germaine  Search this
Gleizes, Albert, 1881-1953  Search this
Guillaume, Paul, 1891-1934  Search this
Matisse, Henri, 1869-1954  Search this
Nokache, Armand  Search this
Ozenfant, Amédée, 1886-1966  Search this
Pach, Walter, 1883-1958  Search this
Picabia, Francis, 1879-1953  Search this
Picasso, Pablo, 1881-1973 -- Photographs  Search this
Renoir, Pierre, 1885-1952  Search this
Reynolds, Mary, 1891-1950  Search this
Salmon, André, 1881-1969  Search this
Seuphor, Michel, 1901-1999  Search this
Severini, Gino, 1883-1966  Search this
Varese, Louise  Search this
Varèse, Edgard, 1883-1965  Search this
Villon, Jacques, 1875-1963  Search this
Waldemar George, 1893-  Search this
Extent:
1.7 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Drawings
Poems
Essays
Sound recordings
Photographs
Interviews
Date:
1913-1973
bulk 1913-1961
Summary:
The scattered papers of French Dada painter Jean Crotti measure 1.7 linear feet and date from 1913-1973, with the bulk of the material dated 1913-1961. Found within the papers are autobiographical notes and essays; correspondence with family and colleagues, among them Jean Cocteau, Andre Crotti, Suzanne Duchamp, Marcel Duchamp, Albert Gleizes, Christian a.k.a. Georges Herbiet, Henri Matisse, Francis Picabia, and Jacques Villon; notes and writings by Crotti and others; art work by Crotti and Paul Guillaume; a scrapbook; and additional printed material. Photographs are of Crotti, Suzanne Duchamp, Georges Braque, Pablo Picasso, and other family and friends; and of Crotti's art work. There are audio recordings on phonograph records of three interviews with Crotti and one with Mr. and Mrs. Paul Blancpain.
Scope and Content Note:
The papers of French Dada painter Jean Crotti measure 1.7 linear feet and date from 1913 to 1973, with the bulk of the materials dating from 1913-1961. Among the papers are autobiographical essays, correspondence with friends and family, including many letters from Marcel Duchamp, notes and writings by and about Crotti, printed materials, one scrapbook, drawings by Crotti and others, photographs of Crotti and his family and friends, photographs of artwork, and three audio recordings of interviews with Crotti.

Biographical material consists of autobiographical notes and an autobiographical manuscript Ma Vie.

Correspondence is with family members and colleagues. Correspondents include his brother Andr?©, wife Suzanne Duchamp, and other family members. There are eleven folders of correspondence between Suzanne's brother Marcel Duchamp and the Crotti family. A 1918 letter from Duchamp to Crotti is illustrated by Duchamp. Additional letters to Jean Crotti are from Jean Cocteau, Albert Gleizes, Georges Herbiet a.k.a. "Christian", Henri Matisse, Francis Picabia, and Jacques Villon. Three folders of letters from Georges Herbiet a.k.a. "Christian" include references to Francis Picabia and Germaine Everling and discussions of art criticism and Picabia's role in avant-garde art movements. Herbiet also describes a new painting procedure that he claims to have invented using a product that is impervious to acids, water, oil, or alcohol. There is a single letter from Jean Crotti to Pablo Picasso following their meeting in Cannes in which Crotti discusses a design with spheres and includes a sketch of his idea. There are also single letters to Crotti from Raoul Dufy, Walter Pach, and actor Pierre Renoir.

Notes and writings include poems, a script, and miscellaneous writings by Crotti concerning his art theories including "Tabu" and gemmail. Writings about Crotti are by miscellaneous authors including writers Waldemar George, Andr?© Salmon, and artists Armand Nakache, Am?©d?© Ozenfant, and Michel Seuphor.

Art work includes seven folders of drawings and an etching plate by Crotti, 83 drawings by Paul Guillaume, and portrait drawings of Crotti by Henri Coudour and Francis Picabia.

A scrapbook contains clippings, a letter from Paul Guillaume and a letter to Elizabeth Crotti from a friend describing a 1932 Jean Crotti exhibition in the Balzac Galleries in New York City, and a typescript "Una Collezione a Parigi" by Gino Severini.

Additional printed material includes clippings, exhibition announcements and catalogs for Crotti and others, reproductions of art work, and books Jean Crotti (1930) and Jean Crotti et la Primaut?© du Spirituel (1959) by Waldemar George.

Photographs are of Crotti, his family, friends, colleagues, and art work by Crotti and by Suzanne Duchamp. Of particular interest are photographs of composer Edgard Var?¨se and his wife Louise with Suzanne Duchamp, Jean Crotti, and art advocate Mary Reynolds in 1924, photographs of Crotti and Georges Braque examining a gemmail art work, and photographs of Crotti and Suzanne Duchamp talking with Pablo Picasso at Cannes and at the home of Bertrande Blancpain in 1957.

Sound recordings include two phonograph records of interviews with Jean Crotti, including topics "Assignment Switzerland" and "Assignment World." A third phonograph record contains an instantatneous disk recording of correspondence between Mr. and Mrs. Paul Blancpain as well as an additional interview with Crotti.
Arrangement:
The collection is arranged as 8 series:

Missing Title

Series 1: Biographical Material, 1954-1955 (Box 1; 3 folders)

Series 2: Correspondence, 1916-1961 (Box 1; 43 folders)

Series 3: Notes and Writings, 1924-1958 (Box 1; 27 folders)

Series 4: Art Work, 1913-1925 (Box 1, 3; 12 folders)

Series 5: Scrapbook, 1931-1935 (Box 1; 1 folder)

Series 6: Printed Material, 1921-1973 (Box 1, 2, 3; 0.5 linear feet)

Series 7: Photographs, 1920-1957 (Box 2; 25 folders)

Series 8: Sound Recordings, 1955 (Box 3; 1 folder)
Biographical Note:
Jean Crotti (1870-1958) was a Dadist painter who worked primarily in Paris, France and New York. He was married to Suzanne Duchamp, Marcel Duchamp's sister, and friends with notable avant-garde and Dada European and American painters of the period. He is also known for creating the "Gemmail" technique of layering colored glass that produced unique color combinations when illuminated.

Jean Crotti was born April 24, 1878 in Bulle, near Fribourg, Switzerland, the son of a painting contractor. The family moved to Fribourg in 1887.

Beginning in 1898, Crotti struggled with questions of a religious and spiritual nature while at the School of Decorative Arts in Munich. Dissatisfied there, he moved to Paris in 1901, where he spent a year studying at the Acad?©mie Julian under Tony-Robert Fleury and Jules Lefebvre. Still dissatisfied in 1902, he established a small independent studio in the Rue Fontaine.

Crotti exhibited a canvas at the Salon des Ind?©pendants in 1907, and was accepted as a member of the Salon d'Automne in 1909. From 1910 to 1912, he was influenced by Cubism and its offshoot, Orphism.

To escape from wartime Paris in 1914, Crotti and his first wife, Yvonne Chastel, moved to New York City where Crotti had his first solo exhibition at the Bourgeois Gallery. In 1915, Crotti met Francis Picabia and also shared a studio with Marcel Duchamp who was a major influence. Crotti began his Dada period and was included in an exhibition of French paintings at the Montross Gallery in New York, with Duchamp, Albert Gleizes, and Jean Metzinger.

Crotti separated from his first wife, Yvonne Chastel, in 1916 and returned to Paris alone. By 1917, Crotti's marriage had dissolved and he married Suzanne Duchamp in 1919. Crotti met Suzanne Duchamp, also a painter, through his friendship with her brother Marcel Duchamp. During this time, Crotti completed and exhibited paintings associated with the Dada movement. One of his more notable works was entitled Explacatif, bearing the word "Tabu" that expressed Crotti's concepts of mystery and infinity with spiritual overtones.

In 1935 Crotti began to research a new technique using layers of colored glass, referred to as "gemmail." The term is a contraction of "gem" referring to the colored glass and "enamel" referring to the method of affixing the pieces of glass to each other. After much experimentation, an "enamel" fixative was found that would permanently hold the glass pieces in place while still allowing light to shine through all the layers. Several prominent artists including Georges Braque and Pablo Picasso became interested in using this medium. Crotti had the process patented, but in 1955 ceded the rights to Roger Malherbe who adapted it to commercial uses.

Jean Crotti died on January 30, 1958 in Paris, France.
Separated Material:
Two sketches and a print were also lent by Andr?© Buckles in 1981 for microfilming on reels 2394-2395 and returned. This material is not described in the container listing of this finding aid.
Provenance:
The Jean Crotti papers were donated in two installments in 1981 by Andr?© Buckles and Alice Buckles Brown, Crotti's great-nephew and great-niece.
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.
Occupation:
Painters -- France -- Paris -- Interviews  Search this
Topic:
Painting -- Technique  Search this
Art criticism  Search this
Dadaism  Search this
Avant-garde (Aesthetics)  Search this
Painters -- France -- Paris  Search this
Genre/Form:
Scrapbooks
Drawings
Poems
Essays
Sound recordings
Photographs
Interviews
Citation:
Jean Crotti papers, 1913-1973, bulk 1913-1961. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.crotjean
See more items in:
Jean Crotti papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9790c3ee5-acf6-44ec-b03f-8b3a8da017fb
EDAN-URL:
ead_collection:sova-aaa-crotjean
Online Media:

Chester Beach papers

Creator:
Beach, Chester, 1881-1956  Search this
Names:
American Academy in Rome  Search this
Architectural League of New York  Search this
Cleveland Museum of Art  Search this
Ecole nationale supérieure des beaux-arts (France)  Search this
Frontier Art Colony  Search this
Mark Hopkins Institute of Art  Search this
National Academy of Design (U.S.)  Search this
National Sculpture Society (U.S.)  Search this
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)  Search this
Salmagundi Club  Search this
Salon d'automne  Search this
Allen, Mary Jester  Search this
Beach, Eleanor Murdock  Search this
Blumenschein, Ernest Leonard, 1874-1960  Search this
Carrington, Fitz Roy, 1869-1954  Search this
Couper, William, 1853-1942  Search this
Fitchen, Eleanor Beach  Search this
French, Daniel Chester, 1850-1931  Search this
Greacen, Edmund W., 1876-1949  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Jackson, Hazel Brill  Search this
Jennewein, Carl Paul, 1890-  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Walt, 1877-1949  Search this
Käsebier, Gertrude, 1852-1934  Search this
Leibig, Bonnie  Search this
MacMonnies, Frederick William, 1863-1937  Search this
Mora, F. Luis (Francis Luis), 1874-1940  Search this
Nelson, Laurence, 1887-1978  Search this
Nisbet, Robert H., 1879-1961  Search this
Olmsted, Frederick Law, 1822-1903  Search this
Piexotto, Jessica B.  Search this
Winter, Ezra, 1886-1949  Search this
Extent:
7.32 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Date:
1846-1999
bulk 1895-1999
Summary:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.
Scope and Contents:
The Chester Beach papers measure 7.32 linear feet and date from 1846 to 1999, with the bulk ot the material dating from circa 1900 to 1999. The work and professional activities of Beaux Arts sculptor Chester Beach (1881-1956) and his family's efforts to exhibit and sell work from the estate are documented by project files, business records, correspondence, scrapbooks, printed material, and photographs. The papers also include many artist-designed Christmas cards sent and received by the Beach family, and artwork by Chester Beach and others.

Biographical material consists of biographical notes, identification cards, and a membership certificate.

Project files contain correspondence, financial records, notes, drawings and plans, research materials, printed matter, and photographs that document commissions for sculpture, medals and coins, monuments, and Beach's own projects. Among the most thoroughly documented projects are a fountain sculpture for the grounds of the Cleveland Museum of Art (Sun, Earth, Fountain of the Waters, and Zodiac) and the Edward W. Bok Memorial in Mountain Lake, Florida; both commissions were executed in conjunction with the firm of Frederick Law Olmsted.

Business records include Chester Beach's general business correspondence and correspondence concerning consignments. An address book records names, addresses, and occasionally indicates prices of services and supplies used by the sculptor. Other record books detail expenses and income of the studio building Beach owned, with a list of the effects of the former owner, sculptor William Couper; bronzes cast; sales, with titles, prices, and buyers; names and addresses of clients, dealers, and suppliers; and instructions for cleaning and bronzing plaster.

Family correspondence consists mainly of letters, many mentioning Chester Beach, and addressed to Mrs. Chester Beach and daughter Eleanor Beach Fitchen. Estate correspondence and related documents concern efforts to exhibit, sell, and research Beach's remaining work. These records, for the most part, were created by Mrs. Fitchen who acted as sales agent, ran the Chester Beach Memorial Studio, and maintained the Beach archive. Of particular interest is a series of letters from Brenda Kuhn that relate what she learned from handling the estate of her father, Walt Kuhn; in addition, she offered ideas and advice about exhibitions, the Memorial Studio, and the Beach Centennial.

Beach designed his family's annual Christmas cards, most of which incorporate images of their three daughters. A complete set, preserved in an album, includes a few later cards that reproduce artwork by his widow. Many of the cards received - some with original artwork - are from artist friends, among them: Ernest Blumenschein, Edward W. Greacen, Hazel Brill Jackson, Paul Jennewein, Bonnie Leibig, F. Luis Mora, Robert Nisbet, and Ezra Winter. Also of note are a card from Walker Hancock bearing a photograph of his studio; a painting of Beach's Sylvan at Brookgreen Gardens, reproduced on Anna Hyatt Huntington's card; and a card from Beach patron Mary Jester Allen containing a brief note about the Frontier Art Colony she had established near Cody, Wyoming.

Among the drawings and sketches by Chester Beach are student work, designs for some of his Christmas cards, and a sketchbook containing drawings of sculpture. Work by other artists consists of prints, including one by Ezra Winter.

Three scrapbooks, largely comprised of newspaper clippings and other printed material, contain a variety of other items, including: letters from the American Academy in Rome, Architectural League of New York, Ecole des Beaux Arts, Daniel Chester French, Hazel Brill Jackson, Frederick MacMonnies, National Academy of Design, National Sculpture Society, Jessica B. Piexotto, and Salon d'Autome. There are also awards and certificates from the National Academy of Design, Panama-Pacific International Exposition; bookplates and a place card Beach etched for Mr. and Mrs. George Davison; and an unfinished poem by FitzRoy Carrington. Photographs within the scrapbooks are of a night school class Beach attended at the Mark Hopkins Art Institute in San Francisco, Beach at work in his studio, and a portrait of him painted by G. Laurance Nelson.

Printed material includes Panama-Pacific International Exposition guide books, brochures about the Chester Beach Memorial Studio in Brewster, New York, and catalogs for solo and group exhibitions.

Photographs and glass plate negatives of artwork are mainly of Chester Beach's sculpture and include views of work in progress. Also found are photographs of drawings and sculpture from his student years in California and Paris. Pictures of work by other artists are portraits of Chester Beach painted by G. Laurance Nelson and by his daughter, Natalie Beach McLaury. Among the photographs of Chester Beach are several by Gertrude Kasebier, circa 1910. Other pictures show Beach in his studio, Beach with family and friends, and a "Dinner tendered to Edmund W. Greacen by Samuel T. Shaw, Salmagundi Club, March 2, 1922." Places documented are Beach's boyhood home in San Francisco, the interiors of his studios, and Brookgreen Gardens. Miscellaneous subjects are nude models.
Arrangement:
The collection is arranged as 10 series. Glass plate negatives are housed separately and closed to researchers.

Missing Title

Series 1: Biographical Material, 1910-1947 (4 folders; Box 1)

Series 2: Project Files, 1846-1999 (1.6 linear feet; Boxes 1-2, 11, OV 12-13)

Series 3: Business Records, circa 1900-1958 (0.4 linear feet; Boxes 2-3)

Series 4: Writings, 1913-1935 (2 folders; Box 3)

Series 5: Correspondence, 1875, 1933-1996 (0.5 linear feet; Box 3)

Series 6: Christmas Cards, 1909-1961 (0.7 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1900-1955 (0.3 linear feet; Boxes 4, 11)

Series 8: Scrapbooks, 1903-1972 (0.3 linear feet; Box 10)

Series 9: Printed Material, 1910-1997 (0.4 linear feet; Box 4)

Series 10: Photographs, circa 1885-circa 1960s (3.1 linear feet; Boxes 4-9, 11, 14)
Biographical / Historical:
Sculptor Chester Beach (1881-1956) was known for portrait busts, allegorical and mythological figures, coins and medallic art in the Beaux-Arts tradition. He lived and worked in New York City and Brewster, New York.

Chester Beach, son of Chilion Beach and Elizabeth Ferris Beach, was born in San Francisco on May 23, 1881. Beach initially studied at the California School of Mechanical Arts in 1899. He remained in San Francisco and between 1900 and 1902 continued his art training at the Mark Hopkins Institute of Art while working as a jewelry designer. To further his career and exposure to artistic trends, Beach moved to New York City in 1903. The following year, he went to Paris, enrolled at the Ecole des Beaux-Arts, and also studied with Raoul Verlet at the Académie Julian.

Upon his return to New York in 1907, Beach established a studio on Tenth Street. He won the National Academy of Design's Barnett Prize for sculpture in 1907 and the Academy elected him an Associate Artist the following year. His increased stature resulted in numerous portrait commissions and eventually led to commissions for monuments and architectural sculpture. In 1910, Chester Beach married Eleanor Hollis Murdock, a painter he met when both were art students in Paris. The couple spent the next two years in Rome; for several years after returning, Beach continued to spend time in Italy and maintained a studio in Rome.

Solo exhibitions of Beach's work were presented at Macbeth Gallery (1912), Pratt Institute (1913), Cincinnati Art Museum (1916), John Herron Art Institute (1916), and Memorial Art Gallery, Rochester (1917). In addition to frequent participation in annual exhibitions at the National Academy of Design and the Pennsylvania Academy of the Fine Arts, Beach was represented in the Panama-Pacific International Exposition (1915), and in group shows at venues including: Art Institute of Chicago, Boston Art Club, California Palace of the Legion of Honor, and National Arts Club.

The gold medal presented by Académie Julian (1905), Beach's first award, was followed by many other prizes, among them: American Numismatic Society prize for a medal commemorating the Peace of Versailles (1919) and its Saltus Medal for distinguished medallic art (1946); Architectural League of New York gold medal (1924); National Academy of Design Barnett Prize (1907) and Watrous gold medal (1926); National Arts Club medal and prizes (1923, 1926, 1932); and the Panama-Pacific International Exposition silver medal (1915).

Beach was an Academician of the National Academy of Design, a member of the American Numismatic Society, Architectural League of New York, National Arts Club, National Institute of Arts and Letters, and the National Sculpture Society (President, 1927-1928).

For more than 40 years, Beach lived and worked at 207 East 17th Street. The brownstone, purchased in 1913, was large enough for the family's home, his studio, and additional studios that were rented to other artists. Through barter, Beach acquired land in Brewster, New York, and in 1917 hired Italian stonemasons to build a studio. Later, they erected a summer house for the family. Many old stone walls on the site provided material for both buildings and Beach named the property Oldwalls.

After a long illness, Chester Beach died at Oldwalls on August 6, 1956. The funeral service was held at his Brewster, New York, studio and he is buried in Cold Spring Cemetery, Cold Spring, New York.
Separated Materials:
Also in the Archives of American Art is microfilm of papers lent for microfilming (reels N727-N729 and N68-11) including passports, genealogical materials, photograph albums, travel sketches, travel diaries of Mrs. Beach, and business and family correspondence. While the obituary letters on reel N68-11 are referenced in a scrapbook in Series 8, all other loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
Chester Beach's daughter, Eleanor Beach Fitchen, lent materials for microfilming in 1967 and 1967. Subsequent papers were donated in 2009 by the estate of Eleanor Beach Fitchen, through her grandson and executor, John Fitchen.
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. Glass plate negatives are housed separately and not served to researchers.
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:
Sculptors, American -- New York (State) -- New York  Search this
Eclecticism in architecture  Search this
Sculpture -- Technique  Search this
Sculpture -- Equipment and supplies  Search this
Artists' studios  Search this
Sculpture -- Economic aspects  Search this
Genre/Form:
Scrapbooks
Sketches
Christmas cards
Drawings
Photographs
Prints
Sketchbooks
Citation:
Chester Beach papers, 1846-1999, bulk circa 1900-1999. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.beacches
See more items in:
Chester Beach papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93fbc1322-a3ff-4570-b08a-68b84efe296b
EDAN-URL:
ead_collection:sova-aaa-beacches
Online Media:

Julian E. Levi papers

Creator:
Levi, Julian E. (Julian Edwin), 1900-1982  Search this
Names:
American Artists' Congress  Search this
An American Group (Organization)  Search this
Downtown Gallery (New York, N.Y.)  Search this
New School for Social Research (New York, N.Y.) -- Faculty  Search this
Extent:
6.9 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Interviews
Sketches
Drawings
Photographs
Illustrated letters
Date:
1846-1981
Summary:
The papers of painter and teacher Julian E. (Edwin) Levi date from 1846 to 1981, and comprise 6.9 linear feet. They include biographical information and extensive correspondence with museums and galleries, as well as letters written to his family, circa 1927, while Levi was living in Paris. Also found within the papers are scattered drawings and sketches by Levi, writings and notes, financial records, two scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.
Scope and Content Note:
The papers of painter and teacher Julian E. Levi date from 1846 to 1981, and comprise 6.9 linear feet. They consist of biographical information, correspondence, artwork, writings and notes, financial records, scrapbooks, printed material, miscellaneous records and photographs that document Levi's professional career and personal life.

Biographical information includes French documents regarding his trips to Paris in 1920 and 1926-1927. Julian E. Levi's Correspondence, 1914-1981, and undated, concerns professional and personal matters and consists primarily of incoming letters from friends and colleagues, arts organizations, museums, schools, and galleries. Also found are approximately sixty letters he wrote to his family circa 1927, while living in Paris. In addition, a small number of Henderson Family letters, 1846-1886, are included with the Julian E. Levi papers; their relationship to Levi is unclear. Found within the correspondence are illustrated letters and original artwork in the form of greeting cards. Additional Artwork consists mainly of pencil drawings and sketches by Levi, including a large number of stage costume designs.

Writings by Levi consist of brief statements concerning his work and other artists, brief reminiscences of friends, a poem, and the text of a speech. Notes contain miscellaneous jottings, lists of paintings, addresses and telephone information, and address books. Among the writings by others are catalog introductions for Levi exhibitions by unknown authors, and by Lewis Mumford and Archibald MacLeish for An American Group, Inc.

Financial Records concern both business and personal transactions and document art sales, commissions, consignments, and gallery expenses. Also included are receipts, a small number of banking and tax records, and scattered documentation of purchases, appraisals, and sales of antiques in his collection.

Scrapbooks (2 disbound volumes) contain clippings, other printed items, and a few photographs documenting Levi's exhibitions. There are a substantial number of exhibition catalogs and announcements. Miscellaneous printed material includes brochures, newsletters and publications, clippings, invitations, announcements of meetings, blank postcards, travel brochures and printed souvenirs. Also found is a copy of his book, Modern Art: An Introduction, and one of the articles he published in the American expatriate periodical Gargoyle.

Items of note among the Miscellaneous Records pertain to the American Artists' Congress, An American Group, Inc., Downtown Gallery, and New York City Council for Art Week. Other items of interest are a blueprint of plans for Levi's studio at his home in Easthampton, New York, and records regarding the New School for Social Research where Levi taught for many years.

Photographs of artwork include a disbound album of Levi's work and exhibition installation views that show paintings by Levi. Pictures of Levi include some taken when he was a young child, along with many views of him in his studio, with students, and others. Many views of places probably were used as reference for paintings. Other places recorded in photographs include Downtown Gallery, Stuart Davis's grave, and studios he occupied while in Paris, circa 1926-1927 and at the American Academy in Rome, 1967-1968. Of particular note are copies of Resettlement Administration and Farm Security Administration photographs.
Arrangement:
The collection is organized into 9 series. Correspondence and Scrapbooks are arranged chronologically. Other series are further categorized by record type or broad topic, with material in each folder arranged chronologically or alphabetically, as noted in the series descriptions.

Missing Title

Series 1: Biographical Information, circa 1906-1980 (Box 1; 14 folders)

Series 2: Correspondence, circa 1846-1981 (Boxes 1-3, OV 9; 2.3 linear ft.)

Series 3: Artwork, circa 1922-1972 (Box 3; 8 folders)

Series 4: Writings and Notes, circa 1938-1978 (Box 3; 11 folders)

Series 5: Financial Records, 1920s-1980 (Box 3; 0.4 linear ft.)

Series 6: Scrapbooks, 1921-1940(Box 4; 2 folders)

Series 7: Printed Material, circa 1922-1981(Boxes 4-6 and OV 10; 2.3 linear ft.)

Series 8: Miscellaneous Records, circa 1940-1974 (Box 6 and OV 9; 0.2 linear ft.)

Series 9: Photographs, circa 1902-1974 (Boxes 6-8 and OV 11; 1.1 linear ft.)
Biographical Note:
Julian Edwin Levi was born in New York in 1900, and his family relocated to Philadelphia six years later. At age 17, Levi enrolled in the Pennsylvania Academy of the Fine Arts where he studied under Henry McCarter and Arthur B. Carles. Upon completing his studies at the Academy in 1919, Levi was awarded one of the Pennsylvania Academy's Cresson Traveling Scholarship which enabled him to travel to Italy during the summer of 1920.

Levi then headed to Paris where he spent the next four years. During this time he became fluent in French, looked at a wide variety of art that influenced him to experiment with abstraction, and had paintings accepted for exhibition the Salon d'Automne of 1921 and 1922. He met many artists in Paris, and developed a close friendship with Jules Pascin. He retuned for a second stay in Paris during 1926 and 1927.

Upon his return to Philadelphia in 1924, Levi and several other modern artists in the city (including his former instructors Carles and McCarter) began exhibiting together under the name "31." The group's work was not well-received. For the remainder of his time in Philadelphia, he continued to paint and on several occasions was able to see Albert Barnes' collection that normally was not open to the public. Levi moved to New York City in 1932 and was attracted to the support and cooperation offered by various artists' organizations. He became a member of An American Group, Inc., in 1933, and was in active in the American Artists' Congress beginning around 1937. Later, Levi was elected to the National Institute of Arts and Letters, an Associate Artist of the National Academy of Design, and a member of the Century Association.

The sea, beaches, dunes, and shores served as inspiration for many of Levi's paintings. He studied his subjects closely, amassing a wide knowledge of boats, fishing, and related equipment; he even learned professional fishing and sailing techniques in order to better understand his subjects. Levi also focused on painting people, and his wife often served as his model. Paintings by Levi are in many museums, among them: Albright-Knox Art Gallery, Art Institute of Chicago, Butler Institute of American Art, Cranbrook Academy of Art, Des Moines Art Center, Detroit Institute of Arts, Guild Hall, Museum of Modern Art, Metropolitan Museum of Art, Newark Museum, Norton Simon Museum, Santa Barbara Museum, Springfield Museum of Art, Toledo Museum, University of Illinois, and the Whitney Museum of American Art.

Many of the paintings Levi produced while employed by the Federal Art Project, 1936-1938, served as the nucleus of his first one-man show held in 1940 at Downtown Gallery. He remained with Downtown Gallery for more than a decade. Later, he was associated with the Alan Gallery, Frank K. M. Rehn Galleries, and Nordness Gallery, each of which staged frequent solo exhibitions of Levi's work. He participated in most of the major national exhibitions and in the Venice Biennale, winning prizes awarded by the Art Institute of Chicago, Carnegie Institute, National Academy of Design, University of Illinois, Guild Hall, and the Pennsylvania Academy of the Fine Arts. A large retrospective exhibition of his work was organized by Boston University in 1962, and a small retrospective was held in 1971 at Wake Forest University, Winston-Salem, North Carolina.

A highly respected and much loved teacher, Levi emphasized the importance of drawing and provided individualized instruction. He considered himself a "coach" and viewed his students as less experienced artists (all were encouraged to call him Julian instead of Mr. Levi). His teaching career, which lasted for more than three decades, began in 1946 with his appointments as a painting instructor at the Art Students League and the New School for Social Research in New York City (later the New School appointed him director of its Art Workshop). In 1964 he began making weekly trips to the Pennsylvania Academy of the Fine Arts in Philadelphia, where he taught painting; at the start of the 1977 academic year, he reduced his schedule to once a month and acted as a general critic. During the 1967-68 academic year, Levi was on sabbatical leave while artist-in-residence at the American Academy in Rome. In addition, he taught summer courses at Columbia University in the early 1950s and occasionally served as a guest instructor at other summer programs over the years.

Julian Levi died in New York City, February 28, 1982, after a brief illness.
Provenance:
The papers were a gift received in several accessions between 1969-1982 from Julian E. Levi and his estate (Herman Englander, executor). Portions of the collection were microfilmed upon receipt.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. office.
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  Search this
Topic:
Art -- Economic aspects  Search this
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Art -- Study and teaching  Search this
Artists' studios  Search this
Works of art  Search this
Genre/Form:
Scrapbooks
Interviews
Sketches
Drawings
Photographs
Illustrated letters -- Local
Citation:
Julian E. Levi papers, 1846-1981. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.levijuli
See more items in:
Julian E. Levi papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99f1f1716-1635-4a68-b892-235c3bd7be31
EDAN-URL:
ead_collection:sova-aaa-levijuli
Online Media:

Abraham Rattner and Esther Gentle papers

Creator:
Rattner, Abraham  Search this
Names:
Downtown Gallery (New York, N.Y.)  Search this
Esther Gentle Reproductions  Search this
Kennedy Galleries  Search this
Paul Rosenberg & Co.  Search this
Bedwell, Bettina, 1889-1947  Search this
Biddle, George, 1885-1973  Search this
Boyle, Kay, 1902-  Search this
Burlin, Paul, 1886-1969  Search this
Carton, Norman, 1908-1980  Search this
Coates, Robert M. (Robert Myron), 1897-1973  Search this
Davis, Stuart, 1892-1964  Search this
De Rochemont, Richard  Search this
Dehn, Adolf, 1895-1968  Search this
Dos Passos, John, 1896-1970  Search this
Gentle, Esther, 1900-  Search this
Gonzalez, Xavier, 1898-1993  Search this
Griffin, John Howard, 1920-  Search this
Guthrie, Ramon, 1896-  Search this
Gwathmey, Robert, 1903-1988  Search this
Hall, William Weeks, 1894-1958  Search this
Hayter, Stanley William, 1901-  Search this
Hiler, Hilaire, 1898-1966  Search this
Hirsch, Joseph, 1910-1981  Search this
Hirsch, Stefan, 1899-1964  Search this
Holty, Carl, 1900-1973  Search this
Hélion, Jean, 1904-1987  Search this
Kronberg, Louis, 1872-1965  Search this
Lebrun, Rico, 1900-1964  Search this
Leepa, Allen, 1919-2009  Search this
Lipchitz, Jacques, 1891-1973  Search this
Ludgin, Earle, 1898-1981  Search this
Malcolm, Thalia Westcott, b. 1878  Search this
Miller, Henry, 1891-  Search this
Miró, Joan, 1893-  Search this
Nordfeldt, Bror Julius Olsson, 1878-1955  Search this
Peake, Channing, 1910-  Search this
Poor, Henry Varnum, 1887-1970  Search this
Ruvolo, Feliz  Search this
Stark, Jack Gage, 1882-1950  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Weller, Allen S. (Allen Stuart), 1907-1997  Search this
Extent:
26.3 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Diaries
Scrapbooks
Photographs
Interviews
Date:
1891-1986
Summary:
The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.
Scope and Content Note:
Abraham Rattner's papers provide insight into an important time for twentieth century American art and culture. By studying Rattner's papers, the researcher may view the beginnings of Modernism, the cultural change that pushed the boundaries of artistic and literary traditions and provided new ways in which to express ourselves.

The Abraham Rattner and Esther Gentle papers measure 26.3 linear feet and date from 1891 through the 1980s. The collection documents Rattner's life and career as an artist through interviews, extensive correspondence, gallery files, studio notebooks, writings, notes, date books and diaries, photographs, and works of art.

The biographical files contain documents such as Rattner's birth certificate, travel visas, his senior yearbook from 1912 which shows some of his early art work, and some of his awards. His birth certificate is of particular interest since it shows Rattner's birth date to be 1893 instead of the recognized 1895.

The correspondence offers great insight into the thoughts of many American and European artists and writers during the 1930s and 1940s. Rattner, a prolific writer, expressed many of his own thoughts and concerns through his letters, many of which are included in this collection. The vast amount of correspondence include letters from notable figures such as George Biddle, Kay Boyle, Paul Burlin, Norman Carton, Robert Coates, Stuart Davis, Adolph Dehn, Richard de Rochemont, John Dos Passos, Xavier Gonzales, John Howard Griffin, Ramon Guthrie, Robert Gwathmey, Weeks Hall, Stanley W. Hayter, Jean Helion, Hilaire Hiler, Joseph Hirsch, Stefan Hirsch, Carl Holty, Louis Kronberg, Rico Lebrun, Jacques Lipchitz, Earle Ludgin, Thalia Wescott Malcolm, Henry Miller, Joan Miro, Bror Julius Olsson Nordfeldt, Channing Peake, Henry Varnum Poor, Felix Ruvolo, Waverly Root, Jack Gage Stark, Frank C. Watkins, and Allen Weller, among others.

Rattner was engaged in a wide range of special art projects, and he kept detailed files on these projects. The projects spanned from 1940 through 1973 and included endeavors such as illustrations for Life magazine, stained-glass designs, mosaic and tapestry projects, as well as special paintings such as Victory--Jerusalem the Golden and The Gallows of Baghdad. Rattner's papers also detail the history of a fresco painted by Paul Gauguin entitled Joan d'Arcwhich Rattner purchased in France in 1925.

Rattner's forty year friendship with the writer Henry Miller is chronicled throughout the collection in the forms of correspondence, writings, printed material, phototographs and artwork. Their correspondence ranges from 1938 through 1978 and offers great insight into their relationship. Rattner and Miller's road trip from New York to New Orleans in 1940-1941 is documented in the series entitled Special Projects. Also included in the collection are printed material, such as biographical material on Miller, Miller's writings, literary announcements and reviews; Miller's writings on Rattner; and photographs of Miller.

The gallery files contain correspondence, receipts, and notes regarding the galleries which represented Rattner. Those galleries included the Rosenberg Gallery, the Downtown Gallery, and the Kennedy Gallery. A small series of exhibition files contain material about exhibitions held outside of Rattner's representative galleries.

Rattner's writings proved to be an outlet for his thoughts on painting, his inspirations, frustrations, and sadness. In addition to painting, Rattner was able to express his creativity through writing poetry. Writing also helped him work through his depression over the death of his first wife Bettina Bedwell.

He also kept finely detailed studio notebooks. The original order has been maintained, and they trace the history of almost each painting, drawing, and study attempted by Rattner. The notebooks often provide information regarding whether the work was sent to a gallery or given as a gift. Sometimes they contain correspondence or writings that reveal the inspiration for a work. They have been arranged in chronological order, according to Rattner's own filing system.

Rattner retained receipts for most of his art expenses. Arranged by decade, these receipts show the type of paint, colors, types of paper and brushes that he used.

Rattner also kept many household files and personal financial records. Household files contain insurance records, warranties and rental agreements, while the financial records contain returned checks and bank statements. Some bank statements from Esther Gentle Reproductions are also included. The household files and financial records are not filmed.

The date books and diaries reveal the aspects of daily life and the personal thoughts of Rattner and Esther Gentle. In many cases, Rattner shared his date books and diaries with Gentle. The early diaries are fascinating, especially the 1939 diary that discloses the Rattners' last days in France before escaping Nazism and returning to the United States.

Rettner's scrapbooks span from 1938 to 1952 and contain newspaper and magazine clippings that mention the artist or his work.

The printed material covers a period from 1930s through the 1980s and includes exhibition catalogs, exhibition announcements, clippings, and miscellaneous material such as an autograph book from 1969 and a map of Israel that shows Rattner's travel route. There is a large amount of unfilmed printed material that is listed in the series description.

Writings by others consists of writings on Rattner and other topics.

The collection contains many photographs taken of Rattner and taken by him, as well as photos of family, friends, his studio, travels, and photographs of Rattner's art. Photographs of notable people include Henry Miller, Joan Miro, John Dos Passos, Archibald MacLeish, and Malcolm Cowley, among others.

The amount of Rattner's art work included in the collection is small, but it is significant because it provides examples of his very early work, dating from 1912-1914. Some later studies are also present, as well as a number of random sketches. Color was very important to Rattner, and some of his color studies from the 1940s are also included. Art work by other artists is comprised of some small paintings by Max Weber, a water color by Henry Miller, a painting by Ken Buryd, as well as some work by unknown artists.

In addition to tracing Rattner's life and career, the collection also documents the lives of Rattner's two wives, Bettina Bedwell and Esther Gentle. Both women had profound effects on Rattner's work. Among Bettina Bedwell's papers are her diary, fashion sketches, and correspondence. Esther Gentle's papers include correspondence, writings, as well as papers documenting her business Esther Gentle Reproductions. There are a small amount of papers relating to Allen Leepa, Rattner's stepson with Esther Gentle.

See index for list of correspondents from various series.
Arrangement:
The collection is arranged into twenty-four series based primarily on type of document or special project. Though concentrated in its own series, additional correspondence is scattered throughout the collection and may be found in special project files, gallery files, exhibition files, studio notebooks, and scrapbooks. The correspondence has been divided into two subseries, one chronological and the other according to Rattner's subject-oriented filing system. Special art projects have been organized by project, and placed in chronological order. The studio notebooks have also been divided into subseries, and all notebook pages maintain Rattner's original order. The first subseries of notebooks reflects Rattner's numbering system, while the second subseries is arranged chronologically. The vast amount of printed material has been divided into subseries, and all of the unfilmed printed material has been organized chronologically at the end of the series.

Within each series, material is arranged either in chronological order, or in some cases, according to Abraham Rattner's own organizational system.

Oversized materials from various series are housed in oversized folders 33-45 and are noted in the Series Description/Container Listing with see also/see references or in the container columns.

Missing Title

Series 1: Biographical Files, 1893-1978, undated (box 1; 0.2 linear ft.)

Series 2: Interviews, 1957-1975, undated (box 1; 7 folders)

Series 3: Correspondence Files, 1933-1978, undated (boxes 1-5; 4.3 linear ft.)

Series 4: Special Projects, 1940-1987, undated (boxes 5-6, ovs 33-35; 1.5 linear ft.)

Series 5: -- Joan d'Arc -- Fresco painted by Paul Gaugin, 1925-1963, undated (box 7, ov 36; 12 folders)

Series 6: Gallery Files, 1942-1975 (boxes 7-8; 1.5 linear ft.)

Series 7: Exhibition Files, 1963-1978 (boxes 7, 9; 9 folders)

Series 8: Writings, 1940-1972, undated (box 9; 0.9 linear ft.)

Series 9: Studio Notebooks, 1935-1975, undated (boxes 10-11; 1.9 linear ft.)

Series 10: Art Expenses, circa 1940-1970 (boxes 11-13; 0.7 linear ft.)

Series 11: Household Files, 1940-1970, undated (box 13; 0.8 linear ft.)

Series 12: Financial Records, 1933-1963 (boxes 13-14; 0.7 linear ft.)

Series 13: Notes and Lists, 1936-1972, undated (box 14; 0.5 linear ft.)

Series 14: Address Books, 1939-1977, undated (box 15; 1.0 linear ft.)

Series 15: Date Books/Diaries, 1937-1977, undated (boxes 16-17; 1.6 linear ft.)

Series 16: Scrapbooks, 1938-1952 (boxes 18-22; 1.5 linear ft.)

Series 17: Printed Material, 1920s-1980s, undated (boxes 23-26; 3.6 linear ft.)

Series 18: Writings by Others, 1945-circa 1980, undated (box 26; 20 folders)

Series 19: Photographs, 1891-1970s, undated (boxes 27-29; 1.6 linear ft.)

Series 20: Works of Art by Rattner, 1912-1914, 1940-1967, undated (box 30, ovs 37-44; 2.4 linear ft.)

Series 21: Works of Art by Others, undated (box 30, ov 45; 7 folders)

Series 22: Bettina Bedwell Papers, 1932-1947, undated (box 31; 0.4 linear ft.)

Series 23: Esther Gentle Papers, 1921-1984, undated (boxes 31-32; 1.3 linear ft.)

Series 24: Allen Leepa Papers, 1952-1969, undated (box 32; 8 folders)
Biographical Note:
Abraham Rattner was born in Poughkeepsie, New York in 1895. His parents immigrated to the United States to escape antisemitism in Czarist Russia. He was the second of six children, including his eldest brother Louis, younger brothers Manuel (Manny) and Harry, and his younger sisters Rose and Jennie.

Rattner's parents encouraged him to paint at a young age, and as he grew up, painting became a part of his daily life. He graduated from Poughkeepsie High School in 1912 and left to study architecture at George Washington University in Washington, D.C. At night, he took art courses at the Corcoran School of Art. He soon became a full-time art student, and applied for a scholarship to the Pennsylvania Academy of the Fine Arts in Philadelphia. He was accepted in 1919 and supported himself by doing illustrations for Philadelphia newspapers.

In 1917, World War I interrupted his studies. Rattner entered the United States Army in France where he became Sergeant of camouflage section, 40th Engineers. Camouflage, reflecting aspects of modern art in its form and pattern, made use of Rattner's artistic skills. During the second battle of the Marne, Rattner injured his back and returned to the States with an ailment that would affect him for the rest of his life.

Rattner returned to the Pennsylvania Academy and was awarded the Cresson scholarship to study art in Europe. He traveled for one year, then settled in Paris for the next twenty years. Those twenty years in Paris became the most formative for Rattner because he was able to study and experiment with Futurism, Cubism, and Expressionism. Post World War I Paris was the center of modern culture for Americans disillusioned by the destruction of the war. Expatriate writers, poets, and artists were searching for a culture that shunned the traditions of the past and exchanged ideas with one another at the lively Paris cafes and salons.

In 1924, Abraham Rattner married Bettina Bedwell, an American art student and fashion illustrator. Bettina became the Paris fashion correspondent for the New York News-Chicago Tribune Syndicate. In 1927, Rattner was a member of the Minotaure group, along with Picasso, Miro, Giacometti, Le Corbusier, Braque, Dali, and Reverdy. He also illustrated an article for Jon Dos Passos in Verve magazine in 1931.

Rattner's first one-man show was in 1935 at the Galerie Bonjean in Paris, which was followed by one-man shows at the Julien Levy Gallery in New York, the Arts Club of Chicago, and the Courvoisier Gallery in San Francisco.

The threat of Hitler and Nazism forced Rattner and his wife to flee Paris in 1939. Arriving in New York in early 1940, Rattner agreed to take a trip by car with the writer Henry Miller. Their route took them from New York to New Iberia, Louisiana via the East coast and Southern states. Their mission was to rediscover America, with Henry Miller writing about their experiences and Rattner sketching the scenery. Rattner's friendship with Henry Miller was an important one that lasted throughout his life.

During the 1940s, Rattner's art was widely exhibited. In 1941, he joined the Rosenberg Gallery in New York, and remained with the gallery for fourteen years. He won awards for his work such as the Temple Gold Medal in 1945 and second prize in the Pepsi-Cola Fourth Annual Art Competition in 1946. In 1947, Bettina Bedwell suddenly died due to a kidney infection, sending Rattner into a spiral of grief and depression. To escape depression, from 1947-1949, he taught at the New School for Social Research in New York.

In 1949, Rattner married Esther Gentle, an artist and business woman who ran an art reproductions business. In 1951, the Rattners moved to Rome where he worked as Artist in Residence at the American Academy. The next year, they moved to Illinois where he was the Artist in Residence at the University of Illinois. Ratter was awarded first prize in 1953 at the 23rd Corcoran Biennial Exhibition and also served as Vice-President of Artists' Equity. In 1956, Rattner was the Distinguished Visiting Professor at Michigan State University, and along with his stepson, Allen Leepa, established an art school on Long Island. In 1957, Rattner left the Rosenberg Gallery to join the Downtown Gallery. He felt he would professionally profit from representation by the well-known Edith Halpert; however, the next twelve years reflected a tumultuous relationship between the artist and the gallery owner.

In 1957, Rattner reached out to other forms of art and design. He experimented with mosaic, tapestry and stained-glass. He designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland and a mosaic for a friary and college in Centerville, Ohio. His stained-glass designs were highly celebrated and respected. His most famous stained-glass piece was the window for the Chicago Loop Synagogue. For this piece, Rattner spent two years traveling to Paris to design and supervise every process involved in the design and installation of the window.

Rattner felt that while his paintings during the 1940s and 1950s were romantic and self-reflective, the 1960s marked a new inspirational period in his work. His painting reflected religious comment, bringing Rattner back in touch with his Jewish heritage, as well as reflecting a sense of social protest. In 1968, Rattner exhibited his painting Victory--Jerusalem the Golden to honor the celebration of Israel's twentieth anniversary of independence. It was also in 1968 that Rattner left the Downtown Gallery for the Kennedy Gallery. In 1969, he painted The Gallows of Baghdad series as a protest to the hanging of nine Jews by Iraqi authorities.

The 1970s marked a time of many exhibitions. In 1976, the National Collection of Fine Arts in Washington, D.C. sponsored an exhibition of his designs for stained-glass entitled "...and let there be light". Also, from 1976 through 1977, "Our America" exhibited Rattner's drawings from his 1940 U.S.A. trip with Henry Miller in England and in the United States. In 1977, Michigan State University bestowed upon him the Honorary Degree for Humanity. On February 14, 1978, Abraham Rattner died due to heart failure.

Missing Title

1893 -- Born June 8th in Poughkeepsie, New York.

1912 -- Graduated from Poughkeepsie High School.

1914-1917 -- Student at George Washington University, Corcoran School of Art and Pennsylvania Academy of the Fine Arts.

1917 -- Enlisted in the United States Army in France as Sergeant, camouflage section, 40th Engineers. Fought at Seicheprey, second battle of the Marne, and Chateau-Thierry.

1919 -- Returned to Pennsylvania Academy of the Fine Arts. Awarded Cresson traveling fellowship to Europe.

1920 -- Traveled in France, Spain, England, Belgium and Holland.

1921 -- Art student in Paris at Ecole des Beaux-Arts, Grand Chaumiere, and Academie Ranson.

1922 -- Lived and painted in Giverny, France.

1923 -- Returned to Paris.

1924 -- Married Bettina Bedwell, Paris fashion correspondent for the New York News-Chicago Tribune news syndicate. Exhibited at Salon d'Automne and Salon des Independants.

1927 -- Member of the Minotaure group in Paris.

1931 -- Illustrated article, "Fire," by John Dos Passos for Verve magazine.

1935 -- First one-person show at Galerie Bonjean, Paris. French government purchased Card Party for Museum of Impressionism, The Louvre.

1936 -- One-person show at Julien Levy Gallery, New York (also 1939, 1941); Arts Club of Chicago; Courvoisier Gallery, San Francisco (also 1941).

1940 -- Returned to the United States following Nazi invasion of France. Traveled with Henry Miller from New York to New Iberia, Louisiana.

1941 -- One-person shows: Stendahl Gallery, Los Angeles; Faulkner Memorial Art Gallery, Santa Barbara (also 1943); Paul Rosenberg Gallery, New York (also 1942, 1944, 1946, 1948-1950, 1952, 1956); Studio, New York.

1945 -- Awarded the Temple Gold Medal from the Pennsylvania Academy of Fine Arts. Wrote "An American in Paris" for Magazine of Art.

1946 -- Awarded second prize at the Pepsi-Cola Fourth Annual Art Competition.

1947 -- Death of Bettina Bedwell Rattner.

1948 -- Taught at the New School for Social Research, New York.

1949 -- Married Esther Gentle. Visiting artist at Yale University and at the Brooklyn Museum School. Awarded honorable mention at the Carnegie Institute Exhibition of American Painting.

1950 -- Awarded the Purchase Prize at the University of Illinois Biennial Exhibition.

1951 -- Artist in residence at the American Academy in Rome.

1952 -- Artist in residence at the University of Illinois.

1953 -- Awarded first prize at the 23rd Corcoran Biennial Exhibition. Served as Vice-President of Artists' Equity.

1954 -- Taught at the Art Students League. Panelist at the Design Conference in Aspen, Colorado.

1955 -- Exhibited drawings at the Chicago Art Institute.

1956 -- Distinguished Visiting Professor at Michigan State University. Established an art school in East Hampton and Sag Harbor, Long Island.

1957 -- Designed mosaic columns and tapestries for the Fairmont Temple Anche Chesed in Cleveland. One-person show at Downtown Gallery, New York (also 1958-1967).

1958 -- Designed mosaic wall for St. Leonard's Friary and College in Centerville, Ohio. Designed stained-glass windows for the Flint Institute of Arts, Michigan. Began designs for stained-glass window for the Chicago Loop Synagogue. Exhibited with Alexander Calder at the Corcoran Gallery of Art. Elected member of the National Institute of Arts and Letters. Awarded the Butler Memorial Prize at the Pennsylvania Academy of Fine Arts.

1959 -- Retrospective exhibition circulated by the American Federation of Arts. Exhibited at the Whitney Museum of Art.

1964 -- Exhibited at the Edinburgh International Festival in Scotland.

1968 -- Exhibited painting entitled Victory--Jerusalem the Golden at the celebration of Israel's 20th anniversary of independence.

1969 -- One-person shows: Kennedy Galleries, New York; Galerie Weil, Paris ( Baghdad Hangings), Galerie Belgique, Brussels ( Baghdad Hangings).

1970 -- Film commissioned by ABC-TV entitled "The Long Prayer of Abraham Rattner."

1972 -- Beggar's Opera lithographs exhibited at Circle Gallery, Chicago.

1976 -- Displayed stained-glass on religious themes with the National Collection of Fine Arts in Washington, D.C.

1977 -- "Our America" exhibition in England and the United States. Awarded Honorary Degree for Humanity from Michigan State University.

1978 -- Died on February 14th.
Index: List of Major Correspondents in Various Series:
These correspondents will be found in the following series: Correspondence, Special Projects, Gallery Files, Studio Notebooks, and Scrapbooks: Edward Albee, 1928-

John Anderson, 1904-

Bettina Bedwell, 1889-1947

Carl Beiber

George Belmont

George Biddle, 1885-1973

Kay Boyle, 1902-1992

Brassai, 1899-

Paul Burlin, 1886-1969

McClure Capps "Mac"

Norman Carton, 1908-1980

Jack Chapman

G. Alan Chidsey

Frederick Childs

Robert Coates, "Bob" 1897-1973

Malcolm Cowley, 1898-1989

Salvador Dali 1904-1989

Paul Damaz

Bernard Davis

Stuart Davis, 1894-1964

Adolph Dehn, 1895-1968

Richard de Rochemont

John Dos Passos, 1896-1970

Armand and Suzi D'usseau

Rene Lefebore Foinet

Gisele Freund, 1912-

Emily Genauer, 1911-

Esther Gentle, 1905-1984

Alberto Giacometti, 1901-1966

Xavier Gonzales, 1898-1993

John Howard Griffin

Ramon Guthrie, 1896-1973

Robert Gwathmey 1903-1988

Weeks Hall

Edith Gregor Halpert, 1900-1970

Stanley W. Hayter, 1901-1988

Nathan Hecht

Jean Helion, 1904-1987

William H. Henrick

Henry Herschkvitz

Hilaire Hiler, 1898-1966

Joseph Hirsch "Joe," 1910-1981

Stefan Hirsch, 1889-1964

Carl Holty, 1900-1973

Etienne Hubert

Arno Hummucher

Frederick I. Kann "Fred," 1886-

L.J. Konigsberg "Leib"

Louis Kronberg, 1872-1965

Alexandra Laks

Rico Lebrun (Fredrico), 1900-1964

Allen Leepa, 1919-

Isadore Levy

Julian Levy, 1906-1981

Jacques Lipchitz, 1891-1973

Ward Lockwood, 1894-1963

Jean Louste

Earle Ludgin, 1898-1981

Thalia Wescott Malcolm, 1888-

Reginald Marsh, 1898-1954

Archibald McLeish, 1892-

Henry Miller, 1891-1980

Joan Miro, 1893-1983

Gloria Nardin

Anais Nin, 1903-1977

Bror Julius Olsson Nordfeldt "B.J.O.," 1878-1955

Hugh O'Neill

Channing Peake, 1910-1989

Gabor Peferdi

Irving Penn

Peter Pollack, 1911-1978

Henry Varnum Poor 1888-1970

Andre Raizorkacs

Robert Rey

Maurice Reynal

Raymond Reynal

Hans Richter, 1888-1976

Edward Roditi

Shelden Rodman, 1909-

Waverly Root, 1903-1982

Felix Emmanuele Ruvolo, 1912-

Frank Sedlak

Paul Shapiro

Jack Gage Stark, 1882-1950

Barrie Stavis

Ike Stoeffle

Benjamin Ellis Tepper

David Turnbull

Alfredo Valente

Siegfried Wang

Frank C. Watkins (Franklin Chenault), 1894-1972

Allen Weller, 1907-
Separated Materials note:
Loaned material, including notebooks, writings, and some correspondence, were returned to Abraham Rattner after microfilming. This material is now part of the Abraham Rattner notes collection at the Leepa-Rattner Museum of Art at St. Petersburg College. Loaned material is available on reels D203-D205, D205A-D205B, and reel 1212, but is not described in this finding aid.
Provenance:
The collection was given to the Archives of American Art in stages by Abraham Rattner 1972-1983, by Esther Gentle 1986-1987, and by Gene Allen in 1992. The donated material that was previously filmed has been integrated and refilmed includes reels D203 and D205C-D205D. The material found on reels D205A-D205B was loaned by Rattner and the material found on reel 1212 was loaned by his sister, Jennie Allen.
Restrictions:
The collection is open for research. Use of unmicrofilmed portion 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:
Painters -- New York (State) -- New York  Search this
Works of art  Search this
Artist couples  Search this
Painters -- France -- Paris  Search this
Art -- Study and teaching -- France -- Paris  Search this
Genre/Form:
Sketches
Diaries
Scrapbooks
Photographs
Interviews
Citation:
Abraham Rattner and Esther Gentle papers, 1891-1986. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rattabra
See more items in:
Abraham Rattner and Esther Gentle papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98b38e43e-390b-4c78-9a1b-51b9d7ff2357
EDAN-URL:
ead_collection:sova-aaa-rattabra
Online Media:

Dane Chanase papers

Creator:
Chanase, Dane, 1894-1975  Search this
Names:
United States. Works Progress Administration  Search this
Ausubel, Sheva, , 1896-1957  Search this
Extent:
2.4 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
circa 1916-1976
Summary:
The Dane Chanase papers measure 2.4 linear feet and date from circa 1916-1976. The papers document Chanase's career as a Works Progress Administration (WPA) muralist in New York through biographical material; correspondence; writings including a travel diary to Palestine and extensive notes on art, color and expressionism as well as notes on topics of personal interest; and subject files on art related theories and concepts as well as research pertaining to mural locations. Also found are subject files on Sheva Ausubel who was an American painter, textile artist and Chanase's wife; printed materials which include reference clippings, information on other artists and document a number of Chanase's interests in science and society; transparencies of paintings by the artist and photographs of other artist's murals as well as topics of interest such as early computers and industrial labor. Also included are large preperatory drawings for a WPA mural in Columbus High School, Washington D.C. as well as other pencil, pen and watercolor sketches.
Scope and Contents:
The papers of Works Progress Administration (WPA) muralist Dane Chanase measure 2.4 linear feet and date from circa 1916-1976. Included are drafts and completed biographical summaries and an illustrated letter from Chanase to a W. Dee and a letter from Chanase to Charmion von Wiegand regarding his participation in the Federal Arts Program. The writing series consists primarily of extensive notes on various subjects of scientific and artistic interest to Chanase such as physics, color, expressionism and mechanical technology. Also found are artist statements and notes on art including a notebook that contains writings on various mediums of art including etching, fresco and ceramics. Subject files reflect topics of interest or research for mural projects in New York and subjects such as the history of the post office, kinetic color, optics, lights and vision as well as document Chanase's wife Sheva Ausubel's career as an artist. Printed Material are mostly comprised of newspaper and magazine clippings related to mural research and reference, other artists and scientific and social topics of interest. Also included are post cards, booklets and photographic reproductions. Photographic material contains two slides of paintings by Chanase as well as photographs of murals by other artists, people performing industrial labor, early computers, and various bridges. The Artwork series contains large prepratory drawings for a WPA mural at Columbus high school in Washington D.C., as well as smaller prepratory sketches for unnamed murals, and assorted sketches in pencil, pen and watercolor.
Arrangement:
The collection is arranged as seven series.

Series 1: Biographical Material, circa 1974 (1 Folder; Box 1)

Series 2: Correspondence, circa 1933-1943 (2 Folders; Box 1)

Series 3: Writings, circa 1920-1965 (0.5 Linear feet; Box 1)

Series 4: Subject Files, circa 1924-1974 (0.3 Linear feet; Box 1)

Series 6: Printed Material, circa 1916-1974 (0.7 Linear feet; Box 2)

Series 7: Photographic Material, circa 1916-1956 (0.2 Linear feet; Box 2)

Series 8: Artwork, circa 1921-1974 (0.6 Linear feet; Box 2, Rolls 1-3)
Biographical / Historical:
Dane Chanase (1894-1975) was a Works Progress Administration (WPA) muralist, printmaker and sculptor from Palermo, Italy who moved to New York City in 1932 where he began working for the New York division of the Works Progress Administration. His wife Sheva Ausubel (1896-1957), was also a New York WPA artist known for her weavings and tapastry designs. Some locations of Chanase's WPA murals include the Welfare Island Hospital, New York, Baron de Hirsch Trade School, New York, and Columbus High School, Washington, D.C. In addition to his murals, Chanase exhibited at the 1930 Salon d'Automne in Paris, France and his work is in the collections of the Los Angeles Museum of Art; Bezalel National Museum; Brooklyn Museum; Library of Congress; and the New York Public Library.
Provenance:
Donated in 1977 by Genie and Moshe Szajngarten who occupied Chanase's former residence.
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.
Occupation:
Muralists -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Drawings
Citation:
Dane Chanase papers, circa 1916-1976. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.chandane
See more items in:
Dane Chanase papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw977896924-31b0-4286-a692-56660037e052
EDAN-URL:
ead_collection:sova-aaa-chandane

Luka, Madeleine

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 59, Folder 10
Type:
Archival materials
Date:
1935-1937
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9eef4b427-f9e4-4fcf-a051-74090d64837e
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10439
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Manessier, Alfred

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 63, Folder 11
Type:
Archival materials
Date:
1949
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ca34928b-4466-4d48-9548-8e41d8b09cfb
EDAN-URL:
ead_component:sova-aaa-jacqself-ref10496
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Sheon, Aaron

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 89, Folder 7
Type:
Archival materials
Date:
1970-1973
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.3: General Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw94bed14c8-9933-4dc3-a32f-0d0ec55b9f75
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11230
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Berkeley, Los Angeles, Santa Barbara, California, University of California, University Art Museum

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 104, Folder 16
Type:
Archival materials
Date:
1949-1974
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9cfe8e37b-7764-49b8-9432-3f411936be8b
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11743
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Kansas City, Missouri, William Rockhill Nelson Gallery of Art

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 116, Folder 4
Type:
Archival materials
Date:
1953-1957
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95aaa42d4-7710-4b67-a67f-6e384bc59019
EDAN-URL:
ead_component:sova-aaa-jacqself-ref11889
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Providence, Rhode Island, Rhode Island School of Design

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 125, Folder 14
Type:
Archival materials
Date:
1939-1948
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw926741f93-84fe-4519-a677-3ddcd0dfca7a
EDAN-URL:
ead_component:sova-aaa-jacqself-ref12027
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Providence, Rhode Island, Rhode Island School of Design

Collection Creator:
Jacques Seligmann & Co  Search this
Container:
Box 125, Folder 15
Type:
Archival materials
Date:
1949-1951
Collection Restrictions:
Use of original papers 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:
Jacques Seligmann & Co. records, 1904-1978, bulk 1913-1974. Archives of American Art, Smithsonian Institution.
See more items in:
Jacques Seligmann & Co. records
Jacques Seligmann & Co. records / Series 1: Correspondence / 1.4: Museum Correspondence
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f16ab133-b9a1-4751-a9bd-1d1d4efe0f40
EDAN-URL:
ead_component:sova-aaa-jacqself-ref12028
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Jerome Blum papers

Creator:
Blum, Jerome, 1884-1956  Search this
Names:
Anderson, Sherwood, 1876-1941  Search this
Blum, Frances, -1970  Search this
Dreiser, Theodore, 1871-1945  Search this
Extent:
3 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Place:
Tahiti -- Description and Travel
Date:
1915-circa 1969
bulk 1919-1935
Summary:
The papers of Jerome Blum measure 3.0 linear feet and date from 1915 to circa 1969, with the bulk of the material dating from 1919 to 1935. Biographical material, correspondence, writings and notes, printed material, artwork, and photographs document the painter's personal and professional life, and extensive travels.
Scope and Content Note:
The papers of Jerome Blum measure 3.0 linear feet and date from 1915 to circa 1969, with the bulk of the material dating from 1919 to 1935. Biographical material, correspondence, writings and notes, printed material, artwork, and photographs document the painter's personal and professional life, and extensive travels.

Correspondence with friends, relatives, colleagues, publishers, galleries, museums, and collectors document Blum's personal and professional life. Noted correspondents include Sherwood Anderson and Theodore Dreiser.

Blum was an avid writer. He published several short stories, and recorded reminiscences, thoughts, and daily events in a series of notebooks. These notes were the basis for Life Answered, an unpublished autobiography (eventually, edited and completed by Frances Blum). Also included are extensive notes and writings on a variety of subjects, including his extensive travels to Tahiti. Writings by other authors consist of critical statements about Jerome Blum and some of Frances Blum's writings on Theodore Dreiser.
Arrangement:
The collection is arranged as 6 series.

Missing Title

Series 1: Biographical Material, 1915-1933 (4 folders; Box 1)

Series 2: Correspondence, 1915-1966 (0.4 linear feet; Box 1)

Series 3: Writings, 1915-circa 1969 (2 linear feet; Boxes 1-3)

Series 4: Printed Material, 1916-1965 (0.3 linear feet; Box 3)

Series 5: Artwork, circa 1920-1930 (2 folders; Box 3)

Series 6: Photographs, circa 1915-1945 (6 folders; Box 3)
Biographical Note:
Jerome Blum (1884-1956) was a world traveler who found artistic inspiration while living in France and traveling to the American west, Hawaii, Japan, China, Cuba, and the South Seas (including a 10 month stay in Tahiti). Blum painted landscapes and seascapes of Southern France, and the many places he visited, as well as still lifes of exotic plants and fruits. He was living in Paris at the height of the Fauve movement and incorporated some of its ideas into his work, first inserting bold colors into his fairly conservative Post-Impressionist style. Later, he used significantly more saturated color, intense light, and bold forms.

Blum studied at the Francis J. Smith Art Academy in his native Chicago, and the Art Institute of Chicago. He went to Paris in 1906 with Lucile Swan, a sculptor and fellow student who eventually became his wife. There, he enrolled in the Ecole des Beaux-Arts for a brief period, studying with Luc Olivier Merson. Blum remained in Paris until 1910, participated in the 1909 and 1910 Salons d'Automne and received exhibition offers from Galerie Sagot, Paris, and Anderson Galleries, New York. While in France, Blum knew expatriates Jo Davidson, Arthur Dove, Samuel Halpert, Alfred Maurer, and John Marin. Halpert became a mentor of sorts, instructing him in painting Post-Impressionist landscapes, to which Blum soon added Fauvist color.

Once back in Chicago, Blum developed close friendships with writers Sherwood Anderson, Theodore Dreiser, and Ben Hecht that lasted for decades. His one-man show at Thurber's Art Gallery in 1911 received very mixed reviews--most likely it was the first time the Fauve palette was seen by Chicagoans, and most thought it too radical. When the mayor purchased a Blum painting from a 1912 Art Institute of Chicago group exhibition, the proceeds enabled Blum to visit the American west. Later that year, Blum and Lucile Swan traveled in Europe. They were married in Paris and took an extended honeymoon, continuing to travel in France until the fall of the following year.

For a period of approximately 20 years, he exhibited extensively and enjoyed critical acclaim. During his many years of foreign residence, Blum returned to the United States periodically for exhibitions and family visits. He participated in a large number of solo exhibitions and group shows in the United States and France, including: Art Institute of Chicago, Arts Club of Chicago, O'Brien Galleries, and Albert Roullier Art Galleries in Chicago; Ainslie Galleries, Brooklyn Museum, Delphic Studios, Katz Gallery, M. Knoedler and Co., Whitney Museum of American Art, and Whitney Studio Club in New York; Worcester Art Museum and Boston Art Club in Massachusetts; Montlcair Art Museum in New Jersey; Pennsylvania Academy of the Fine Arts in Philadelphia; and Galerie de la Renaissance in Paris. Blum is represented in the permanent collections of the Metropolitan Museum of Art, the Smithsonian Institution, and the Whitney Museum of American Art.

Blum returned to New York in 1924 and Lucile filed for divorce. An auction of his work was held at the Anderson Galleries that year; Augustus John, George Biddle, Chester Dale, M. Knoedler, Kraushaar Galleries, and Jo Davidson were among the successful bidders.

In 1925, he married Frances Baum, a psychiatric social worker. They settled in Dampierre, France for eight years, and during this period traveled extensively throughout the country. Always an unconventional and fiercely independent person, Blum's mental health was fragile and deteriorated markedly in the early 1930s, during which time his painting output decreased dramatically. The Blums spent part of 1934 at the MacDowell Colony in Petersborough, New Hampshire. Once his fellowship was over, they moved to Key West, Florida, where Blum became increasingly disturbed.

Blum was admitted to the Bloomingdale Hospital, a private psychiatric institution in White Plains, New York, in 1935. But after being diagnosed a "hopeless case," he was transferred to a state hospital. While hospitalized, Blum continued writing copious notes and made many appeals for release. He died at the Hudson River State Hospital, Poughkeepsie, New York, in 1956.
Separated Material:
Originals of loaned material, including typescripts of Sherwood Anderson's letters, most of Blum's Theodore Dreiser material, travel in China, scrapbooks, and drafts of portions of Life Answered - "Father and Mother," "Journal of the Last 20 Years," "Lucile," and "Marriage and Divorce" - were returned to Frances Blum after microfilming. Although this material is not technically part of the collection housed in the Archives of American Art, copies are available on microfilm reels D237 and D238.
Provenance:
The majority of the papers were donated or loaned for microfilming between 1965 and 1966 by Blum's widow, Frances Blum. A typescript copy of the final version of Life Answered was received in 1969.
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.
Occupation:
Expatriate painters -- United States  Search this
Authors -- United States  Search this
Topic:
Painting, Modern -- 20th century -- New York (State) -- New York  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- New York (State) -- New York  Search this
Genre/Form:
Photographs
Citation:
Jerome Blum papers, 1915-circa 1969, bulk 1919-1935. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blumjero
See more items in:
Jerome Blum papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9e406aa7c-1860-44e8-aaf8-3d8681dca33f
EDAN-URL:
ead_collection:sova-aaa-blumjero
Online Media:

Feitelson on Art

Collection Creator:
Feitelson, Lorser, 1898-1978  Search this
Container:
Box 8, Folder 2
Type:
Archival materials
Date:
1955-1960
Collection 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.
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:
Lorser Feitelson and Helen Lundeberg papers, circa 1890s-2002. Archives of American Art, Smithsonian Institution.
See more items in:
Lorser Feitelson and Helen Lundeberg papers
Lorser Feitelson and Helen Lundeberg papers / Series 6: Research and Teaching Materials
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ac14640b-8c1f-4847-93e8-e76a155035b8
EDAN-URL:
ead_component:sova-aaa-feitlors-ref383
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