The papers of New York historian Virginia Teague measure 0.2 linear feet and date from 1913-1962, with the bulk of materials from 1913-1917. The papers consist of scattered records and papers compiled by Virginia Teague for the intended purpose of writing a history of the 1913 Armory Show, also known as the International Exhibition of Modern Art, organized by the Association of American Painters and Sculptors (AAPS). Documents include correspondence, business records, and printed material mostly in connection with the Copley Society and AAPS.
Scope and Contents:
The papers of New York historian Virginia Teague measure 0.2 linear feet and date from 1913-1962, with the bulk of materials from 1913-1917. The papers consist of scattered records and papers compiled by Virginia Teague for the intended purpose of writing a history of the 1913 Armory Show, also known as the International Exhibition of Modern Art, organized by the Association of American Painters and Sculptors (AAPS). Documents include correspondence, business records, and printed material mostly in connection with the Copley Society and AAPS.
There are a few letters from Elmer MacRae and Vera Kuhn to Virginia Teague recalling the Armory Show. There is one letter from Art Alliance of America Secretary, Elizabeth Grimball, to Henry Fitch Taylor advocating "preparedness" for artists in the event of international hostilities.
Records of the Association of American Painters and Sculptors include meeting minutes, 1913-1915, with agendas, drafts and completed reports of proceedings, checklists of attendees, a hand-written statement by Walt Kuhn, signed by Arthur B. Davies and Elmer McRae, and a mimeograph copy of the AAPS Constitution. Additional correspondence is between Henry Fitch Taylor, George Luks, and James Townsen regarding a review published in American Art News.
Records of the Copley Society are mostly related to the Armory Show. Business records include an exhibition contract and daily sales tallies from the Copley Society, which hosted the Boston venue at Copley Hall. Correspondence is with Walt Kuhn, Arthur B. Davies, John Quinn, Holker Abbott, Edward Warren, L. Flanders, and the law firm of Brandeis, Dunbar & Nutter, and regards a disagreement over sharing revenue generated by the Armory Show exhibition; and letters from General Services Administration and the U.S. Treasury Department regarding customs records for the Armory Show.
Printed material includes catalogs and clippings about the Armory Show.
Biographical / Historical:
Virginia Vanderbilt Teague was a historian in New York, N.Y. and Vermont and was the wife of sculptor and painter R. Lewis Teague. The collection consists of material related to the 1913 Armory Show, also known as the International Exhibition of Modern Art. The exhibition opened at the 69th Street Regiment, in New York City, in February 1913, and traveled to Chicago's Art Institute of Chicago, in March, and Boston's Copley Hall, in April.
Related Materials:
Also found in the Archives of American Art are the Walt Kuhn, Kuhn family and Armory Show records, which contain records of the Association of American Painters and Sculptors kept by Walt Kuhn, Secretary of AAPS. Correspondence (January 1951) between Teague and Vera Kunn in the Walt Kuhn, Kuhn family papers, and Armory Show records in the Archives of American Art shed some light on Teague's intentions to compile a history of the Armory Show and contact she had with others to gather materials.
Provenance:
The Virginia Teague papers relating to the Armory Show were donated to the Archives of American Art in 2010 by Adam and Clover Bergmann, son and daughter of Rudolph Bergmann, Virginia Teague's friend. The papers were found in Bergmann's home after his death in 2009.
Restrictions:
This collection is open for research. Access to orginal papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- New York (State) -- New York Search this
Citation:
The Virginia Teague papers relating to the Armory Show, 1913-1962. Archives of American Art, Smithsonian Institution.
Julian Alden Weir. J. Alden Weir letter to Henry Fitch Taylor, 1912 Jan. 3. Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Henry Fitch Taylor. Henry Fitch Taylor, ca. 1900. 1913 Armory Show, 50th anniversary exhibition records, 1962-1963. Archives of American Art, Smithsonian Institution.
Biographical material, correspondence, business records, notes, printed material and photographs document the career of landscape painter Walter Elmer Schofield.
REEL D71: Letters, 1923-1961, are from museums concerning the exhibition or collection of Schofield's work, from his son to the Archives of American Art concerning the acquisition of Schofield's papers, and a letter and biographical sketch from British sculptor Helen Stuart Weir. Photographs, ca. 1890-1937, are of Schofield, including one at a silvermine in Mexico, and 4 with the Royal Artillery and Royal Fusiliers. One shows Schofield with fellow artists John White Alexander, William Merritt Chase, and Sir Alfred East. There are also photographs of Schofield's residence in Suffolk, England, gallery installations, and art works. Business records, 1888-1921, include discharge papers from the San Antonio Rifles, and 3 leases. Printed material, 1902-1945, includes clippings, an exhibition catalog, a membership list for the National Academy of Design, 1902, and a program for a memorial service for Schofield.
REEL 5043: Biographical material, 1904-1945, includes a biographical sketch, an award certificate from the Carnegie Institute, and a death certificate. Correspondence, 1892-1974, consists primarily of letters between Schofield and his wife during his sojourns in America. Schofield's letters describe his activities including participation in the Louisiana Purchase Exposition and on Carnegie Institute juries, and mention his colleagues including Thomas Anshutz, Alexander Stirling Calder, Henry Caro-Delvaille, Paul Dougherty, Charles Grafly, Robert Henri, William Lathrop, Julius Olsson, Edward Redfield, John Singer Sargent, Charles Shannon, John Sloan, Gardner Symons, Henry Fitch Taylor, John Trask, and Charles Morris Young. There are also one to three letters each from Hugh Henry Breckenridge, Stanhope Forbes, Hayley Lever, and Karl Oberteuffer.
Business records, 1903-1937, include receipts for art supplies, the shipment of household goods, financial records for the sale of Reen Cottage,and for an exhibition at Stendahl Art Galleries, and a contract of ownership for the Delph Spinning Company. Notes consist of lecture notes "Art Noon Club Objectives" and a stanza from "Dover Beach" by Matthew Arnold. Printed material, 1901-1945, consists of clippings, 2 exhibition catalogs, and a reproduction of a wood-engraving of Otley Church. Photographs, 1887-1940, are of Schofield, his wife and sons, members of Schofield's class at the Pennsylvania Academy of the Fine Arts, classes taught by Schofield, members of his military units, his residences in Suffolk and Cornwall, England, gallery installations, and works of art.
Biographical / Historical:
Painter. Born Philadelphia, Pa., Schofield studied at the Pennsylvania Academy of the Fine Arts and, in 1890, at the Academie Julian. After marrying Murielle Redmayne in 1897, he established his residence in England, making frequent trips to the United States to conduct his art-related business. He was primarily known as a landscape and marine painter.
Provenance:
Material on reel D71 donated 1961 by Sydney Schofield, Walter Schofield's son. Material on reel 5043 donated by Mrs. S.E. Schofield through the Brandywine River Museum, 1986.
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.
An announcement for "The Penguin Strawberry Festival" at Cella's Park, Fort Lee, N.J., 1917, and related clippings; an announcement for "A Penguin Post Season Dinner to celebrate the departure permanently to England of the honorable and talented Horace Brodsky," 1923; an invitation and note to LaSalle Spier regarding a stag dinner of the "Union Square Fire Brigade" sponsored by the Penguin Club, 1926, including "The Volunteer Firemen" song; and three invitations with original sketches by Henry Fitch Taylor to his Thanksgiving dinner, 1915.
Biographical / Historical:
Art club, New York, N.Y. Founded by Walt Kuhn in 1917. Located on East 15th Street.
Provenance:
Donated anonymously, 1995.
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.
A scrapbook containing 21 photographs of Taylor's work; 7 pages of a play (unknown playwright); clippings; and two letters to Mrs. Clara Davidge from Franklin Bruce and Gertrude B. Kelly.
Biographical / Historical:
Painter, author; Cornish, N.H.
Provenance:
Lent 1968 by Noah Goldowsky, a dealer who bought many of Taylor's paintings and acquired his scrapbooks in the process.
Restrictions:
The Archives of American art does not own the original papers. Use is limited to the microfilm copy.
Smithsonian Institution Hirshhorn Museum and Sculpture Garden Independence Avenue at 8th Street, S.W Washington District of Columbia 20560 Accession Number: 72.289
Smithsonian Institution Hirshhorn Museum and Sculpture Garden Independence Avenue at 8th Street, S.W Washington District of Columbia 20560 Accession Number: 86.4594
Smithsonian Institution Hirshhorn Museum and Sculpture Garden Independence Avenue at 8th Street, S.W Washington District of Columbia 20560 Accession Number: 72.288
Smithsonian Institution Hirshhorn Museum and Sculpture Garden Independence Avenue at 8th Street, S.W Washington District of Columbia 20560 Accession Number: 86.4593
