Correspondence of director Wilbur D. Peat. Many of the letters are from well-known artists of the 1920s and 1930s relating to their contributions to an exhibition of American paintings which Peat was assembling in 1932-1933. [Microfilm title: The Herron Museum of Art]
Correspondents include: Dewey Albinson, A. S. Baylinson, Wenona Day Bell, Thomas H. Benton, George Biddle, Peter Blume, Ernest Blumenschein, C. Curry Bohm, Adolphe Borie, George H. Borst, Robert Brackman, Samuel Brecher, Alexander Brook, Charles E. Burchfield, Varaldo J. Carian, Mrs. E. F. Carpenter, John Carroll, Nicolai Cikovsky, Antonio Cirino, Charles Val Clear, Max B. Cohen, John S. Curry, Randall Davey, Charles H. Davis, Edwin Dickinson, Paul Dougherty, Susan M. Eakins, Henry S. Eddy, Virginia B. Evans, Jerry Farnsworth, Ernest Fiene, John K. Fitzpatrick, John F. Folinsbee, Anton P. Fabrick, Charlotte Gailor, Daniel Garber, Robert F. Gilder, William J. Glackens, John R. Grabach, Charles T. Greener, Charles P. Gruppe,
Eugene Higgins, Edward Hopper, Bernard A. Hunger, Henry G. Keller, Fanny M. King, Georgina Klitgaard, Leon Kroll, Max Kuehne, Georges La Chance, Luigi Lucioni, Reginald Marsh, Henry E. Mattson, Henry Lee McFee, Miriam McKinnie, Clarence Millet, Ross E. Moffett, Francis Mora, Frederick Mulhaupt, Jerome Myers, Watson Nayland, Warren Newcombe, Waldo Peirce, Van Dearing Perrine, Robert Philipp, Abraham Phillips (Tromka), Majorie Phillips, Paul A. Plaschke, Edward Redfield, Doel Reed, Charles Rosen, Edward B. Rowan, Olive Rush, Chauncey Ryder, Eugene F. Savage, Henry Schnakenberg, Zoltan Sepeshy, Edward Sewall, Leopold Seyffert, Nan Sheets, Simka Simkhovitch, Clyde J. Singer, Judson Smith,
Eugene Speicher, Francis Speight, Maurice Sterne, Alfred Stieglitz (letter written on the back of Peat's letter to Georgia O'Keeffe and written for her), Elizabeth O'Neill Verner, Ferdinand E. Warren, Frederick Judd Waugh, Max Weber, Lois Wilcox, Arnold Wiltz, Grant Wood, and Harold Holmes Wrenn.
Biographical / Historical:
The John Herron Art Institute became the Indianapolis Museum of Art ca. 1969-1970. Peat was director 1929-1965.
Other Title:
Herron Museum of Art [microfilm title, reel D131]
Provenance:
Donated 1962 by the John Herron Museum of Art.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
Biographical material; correspondence; writings; photographs of Smith, friends and associates, classes at Woodstock, N.Y., and of Smith's works and the works of other artists; printed material, including clippings, exhibition catalogs, a few flyers and publications of Woodstock organizations; and miscellany. Among the correspondents are Louis Bouche, John F. Carlson, Anne Colman, Andrew Dasburg, Richard Diebenkorn, F. Valentine Dudensing, Jimmy Ernst, Ernest Fiene, Joseph W. Gies, Juliana Force, Frederic C. Knight, Yasuo Kuniyoshi, Henry Lee McFee, Pierre Montminy, Ad Reinhardt, Charles Rosen, Bradley Walker Tomlin, and Warren Wheelock.
Biographical / Historical:
Painter; Woodstock, N.Y. Director of Woodstock School of Painting.
Provenance:
Donated by Mary D. Smith and Mrs. Thomas Mount, daughters of Judson Smith, 1976.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Microfilmed materials must be consulted on microfilm. Contact Reference Services for more information.
The papers of sculptor and painter Brents Carlton measure 4.7 linear feet and 0.528 GB and date from 1903 through 2014. The collection consists of biographical material, correspondence, personal business records, notes, a scrapbook, exhibition files, art work, photographs, digital photographs, and printed material.
Scope and Contents:
The papers of sculptor and painter Brents Carlton measure 4.7 linear feet and 0.528 GB and date from 1903 through 2014. The collection consists of biographical material, correspondence, personal business records, notes, a scrapbook, exhibition files, art work, photographs, digital photographs, and printed material.
Biographical materials include several autobiographical accounts, school-related materials, a student card from the Art Students' League, and other identification cards.
Correspondence consists primarily of letters from family members and colleagues, including letters from Victor Arnautoff, H. Mallette Dean, Margaret De Patta, Eugen Neuhaus, Dale Nichols, and Judson T. Smith.
Personal business records include bank passbooks, pharmacy licensing records, receipts, income tax records, and ledgers of income, expenses, and art work sold.
Notes consists of Brents Carlton's address book, notebooks, and meeting minutes, as well as notes written by his daughter Carrie Carlton Helser.
There is one scrapbook. Exhibition files include correspondence, notes, photographs, and printed material related to the Golden Gate International Exhibition and other shows. There are also sketches, drawings, and prints by Carlton in the artwork series.
Photographic material includes an album, slides, negatives, and prints depicting Brents Carlton and his artwork, friends, family, and studios.
Printed material includes magazines, brochures, catalogs, and clippings.
A 2015 addition to the Brents Carlton papers includes additional biographical material, correspondence, personal business records, photographic material, and printed material.
Arrangement:
The collection is arranged as 10 series. Series 10 consists of a 2015 addition to the papers that was not integrated into the other series, although there are similar types of materials.
Series 1: Biographical Material, 1921-1944 (0.1 linear feet; Box 1)
Series 2: Correspondence, 1922-1987 (0.2 linear feet; Boxes 1, 6)
Series 3: Personal Business Records, 1924-1959 (0.2 linear feet; Box 1)
Series 4: Notes, circa 1923-2009 (0.1 linear feet; Boxes 1, 6, 0.013 GB; ER01)
Series 5: Scrapbook, 1928-1962 (0.2 linear feet; Box 6)
Series 6: Exhibition Files, 1927-1983 (0.3 linear feet; Box 1, OV 8)
Series 7: Art Work, 1924-1962 (0.3 linear feet; Box 1, 6, OV 8)
Series 8: Photographs, 1923-circa 1960 (0.6 linear feet; Boxes 1-2, 6-7)
Series 9: Printed Material, 1923-2012 (0.2 linear feet; Box 2)
Series 10: 2015 Addition to the Brents Carlton Papers, 1903-2014 (2.3 linear feet; Boxes 2-5, 7, 0.515 GB; ER02-ER03)
Biographical / Historical:
Brents Carlton was a sculptor and painter who worked primarily in San Francisco, California.
Brents Carlton was born on October 31, 1903, in Roswell, New Mexico; his family later moved to Arkansas. In 1924, Carlton moved to San Francisco to attend the California School of Fine Arts for four years. From 1928 to 1929, he studied under a scholarship at the Art Students' League in New York, after which he returned to San Francisco and established his own studio at Polk Street. In order to support his family, Carlton was also employed as a pharmacist for 30 years.
In 1937, Carlton moved to a studio on Montgomery Street. In 1938, Carlton was commissioned to create four of his most notable works for the Golden Gate International Exposition (1939-1940) on Treasure Island: two large cast concrete figures for the Fountain of Western Waters at the Court of Pacifica, and two 18-foot bas-relief figures for the façade of the California State Building. He married Jessie Bosworth in 1939 and they had a daughter Carrie.
In the mid-1940s, Carlton relocated to a new studio above the pharmacy on Mission Street, where he worked. Due to failing health in the late 1950s, Carlton switched from sculpture to painting. Brents Carlton died of cancer on September 6, 1962 in San Francisco. His works have been exhibited in the California Palace of the Legion of Honor, the Oakland Art Gallery, and the San Francisco Museum.
Provenance:
The Brents Carlton papers were donated by the artist's daughter Carrie Carlton Helser in 1991 and 2015.
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 Brents Carlton papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
