Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
Collection items available for reproduction, but the Archives Center makes no guarantees concerning copyright restrictions. Other intellectual property rights may apply. Archives Center cost-recovery and use fees may apply when requesting reproductions.
Collection Citation:
George W. Sims Papers, 1896-1981, Archives Center, National Museum of American History
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Scope and Content Note:
The papers of printmaker and landscape painter Benson Bond Moore date from 1902 to 1995 and measure 5.7 linear feet. Found within the papers are biographical material, letters, scattered personal business records, notes and writings, twelve scrapbooks, printed material, and photographs. The papers also contain extensive artwork in the form of drawings and sketches, etchings, lithographs, and a few oil paintings.
Biographical material includes genealogical notes, biographical accounts, a baptismal record, marriage license, driver's license, membership cards, an award medal and ribbons, a death certificate, and address books.
Letters are incoming only from friends and colleagues, including Christmas cards from Clifford K. Berryman, Paul Bransom, James Russell Lowe, Rowland Lyon, and Francis Bowes Sayre. There is also a photocopy of a letter from Lou Henry Hoover.
Personal business records include a copy of a patent for Moore's design for an artist's kit, a deed for Moore's father's gallery, priced labels for art work in various media, lists of art work, price lists, records of art work sold, bank account records, miscellaneous receipts, and a ledger concerning Moore's works left in trust after his death.
Notes and writings consist of nine poems by Moore, lists of titles of art work sold, lists of art work by others, and a funeral registry book listing mourners' names. The most notable item in this series is a log book of The Ramblers containing a typescript describing the history of this early 20th century art club.
Art work comprises the most significant series in the collection. It includes 1040 drawings, 43 watercolor sketches, 526 etchings, 187 lithographs, 8 paintings and 5 relief sculptures. Subjects depicted are primarily wildlife and nature, landscapes, seascapes, and scenes of towns and notable buildings primarily in and around Washington, D.C. There are scattered portrait drawings and etchings by Moore of fellow artists Herbert F. Clark, Robert G. Cornett, August H. O. Rolle, and Charles Seaton. There are also 5 bas-relief sculptures.
Twelve scrapbooks contain prints by Moore, letters, printed materials, and photographs of Moore and his artwork. Scrapbook 10 contains a photograph of a Landscape Club banquet at the Cosmos Club.
Printed material consists of clippings, exhibition announcements and catalogs, a prospectus from the Society of Animal Artists, book Animals of American History illustrated by Paul Bransom, miscellaneous booklets and brochures concerning art-related topics, travel brochures for New York State, and reproductions of art works.
Photographs are of Benson Bond Moore, his family, residence, colleagues including members of The Ramblers painting outdoors, and of art work. There are also travel photographs of locations in the United States.
Arrangement:
The collection is arranged as 8 series:
Series 1: Biographical Material, 1908-1974 (Box 1; 6 folders)
Series 2: Letters, 1912-1993 (Box 1; 40 folders)
Series 3: Personal Business Records, 1924-1994 (Box 1-2; 0.7 linear feet)
Series 4: Notes and Writings, 1902-1974 (Box 2; 8 folders)
Series 5: Art Work, 1904-1991 (Box 2-4, 6, OV 8; 2.2 linear feet)
Series 6: Scrapbooks, 1919-1973 (Box 4, 7; 0.9 linear feet)
Series 7: Printed Material, 1916-1995 (Box 5-6, OV 8; 1.0 linear feet)
Series 8: Photographs, 1924-1971 (Box 5-7, OV 8; 0.7 linear feet)
Biographical Note:
Benson Bond Moore (1882-1974) of Washington, D.C. and Sarasota, Florida, was a printmaker, landscape painter, art teacher, and picture restorer.
Benson Bond Moore was born on August 13, 1882 in Washington, D.C., the first child of Caroline and John Benson Moore. From an early age, Moore assisted his father in his picture restoring business. In 1902, he was employed by the Maurice Joyce Photo-Engraving Co., and soon afterwards produced a series of technical drawings for Alexander Graham Bell.
Moore studied at the Corcoran School of Art, and, in 1914, he joined The Ramblers (later the Washington Landscape Club), a group of artists who went on painting and drawing expeditions in the environs of Washington, D.C. Moore taught etching at the private Hill School of Art and was an active member of many regional art associations. He was also a founding member of the Miniature Painters, Sculptors and Gravers Society. Following the death of his wife Florence (Flossie) in the early 1950s, Moore moved to Sarasota, Florida.
Benson Bond Moore died on October 30, 1974 in Sarasota, Florida.
Separated Material:
Printmaking tools, lithographic plates, and a 24 x 30 inch display board exhibiting specimen prints and plates and a pocket barometer were transferred to the National Museum of American History, Department of Information Technology and Society.
Provenance:
The Benson Bond Moore papers were donated by Barbara Nikla and John J. Lyons in 1996, as representatives of the estate of the artist's sister-in-law, Mary Jane Moore. Additional material was donated 1997 from the estate by other relatives, Martha Sigmon and her sister Georgia King.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Benson Bond Moore 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.
Topic:
Landscape painting -- 20th century -- Washington (D.C.) Search this
The papers of artist, collector, librarian, and scholar Kate Steinitz measure 4.3 linear feet and date from circa 1910 to 2002. The collection documents Steinitz's life and career in Germany and the United States through biographical material; correspondence; writings, including manuscripts and travel diaries; exhibition files; personal business records; printed material; travel scrapbooks; artwork; and photographs.
Scope and Contents:
The papers of artist, collector, librarian, and scholar Kate Steinitz measure 4.3 linear feet and date from circa 1910 to 2002. The collection documents Steinitz's life and career in Germany and the United States through biographical material; correspondence; writings, including manuscripts and travel diaries; exhibition files; personal business records; printed material; travel scrapbooks; artwork; and photographs.
Biographical material consists of life and travel documents, various membership cards, news clippings, and memorial cards. Also included are letters of recommendation, a resume, and an award from the president of Germany.
Correspondence is with friends, family, colleagues, and various organizations. Artists represented include Carrie van Biema, El Lissitzky, Piet Mondrian, and others. Correspondence with arts organizations include San Francisco Museum of Art, Berlinische Galerie, Germanisches Nationalmuseum, and others.
Published writings by Steinitz include articles, books, and book reviews. Unpublished writings include two travel diaries and an illustrated journal, an autobiographical essay with a sketch of the Traumann family tree, manuscripts, lectures, poems, and notes. Writings by others include a guest register with sketches and comments by visitors, a memorial speech, biographical essays, and miscellaneous notes.
Steinitz's professional activities during her career as a librarian and curator of the Elmer Belt Library of Vinciana are documented through published articles and books, informal reports, correspondence, scrapbooks, sketches, and photographs.
Files pertaining to exhibitions of Steinitz's artwork and collection are documented through three exhibition catalogs, correspondence, inventories, photographs, and printed ephemera. Materials related to the Schwitters-Steinitz Collection, which was compiled by Steinitz and is available at the National Gallery of Art Library in Washington, D.C., include a finding aid and photocopies documenting the exhibition Collaborative Works by Kate Steinitz and Kurt Schwitters from the Schwitters-Steinitz Collection (1994).
Personal business records include an appraisal of Steinitz's art and book collection. Documents pertaining to Steinitz's publishing activities include sales agreements and legal services rendered for the book Kurt Schwitters: A Portrait from Life (1968) written by Steinitz and contracts with Whitman Publishing Company for a children's book by Tom Seidmann-Freud.
Printed material consists of published illustrations and stationary by Steinitz; clippings about Steinitz, Kurt Schwitters, and others; reproductions of artwork; and miscellaneous invitations and announcements. Also found are three children's books written and illustrated by Tom Seidmann-Freud and a book of poems with an illustrated book jacket by Joachin Ringelnatz.
Steinitz's personal and professional trips to Europe are documented through six travel scrapbooks which include sketches, photographs, notes, and printed ephemera such as postcards, receipts, and maps.
Artwork by Steinitz consists of travel sketches and a mock-up sketch for the book Manuscripts of Leonardo da Vinci: Their History, With a Description of the Manuscript Editions in Facsimile (1948). Artwork by others includes miscellaneous sketches, prints, and paintings. Of note are greeting cards with prints by Werner Graeff and a collage by Otto Nebel.
Photographs and negatives consist of portraits and snapshots of Steinitz as well as family, friends, and artists. Photographs by Steinitz include a self-portrait and images of artists, artwork, and Bauhaus architecture. Photographs of Steinitz's apartments in Los Angeles include images of a Man Ray table that was given to Jake Zeitlin. Artists represented include Piet Mondrian, Naum Gabo, Kurt Schwitters, Hannah Höch, El Lissitzky, Marc Chagall, George Grosz, and others.
Arrangement:
The collection is arranged as 10 series.
Series 1: Biographical Material, 1915-1976 (Box 1; 0.4 linear feet)
Series 2: Correspondence, circa 1922-1998 (Boxes 1-2; 0.9 linear feet)
Series 3: Writings, 1921-2002 (Box 2; 1.0 linear feet)
Series 4: Elmer Belt Library of Vinciana, 1948-1989 (Boxes 2-3; 0.3 linear feet)
Series 5: Exhibition Files, 1939-2001 (Box 3; 0.5 linear feet)
Series 6: Personal Business Records, 1938-1993 (Box 3; 0.3 linear feet)
Series 7: Printed Material, 1913-2002 (Boxes 3-5; 0.5 linear feet)
Series 8: Travel Scrapbooks, 1966-1974 (Box 4; 0.4 linear feet)
Series 9: Artwork, circa 1928-1974 ( Boxes 4-5; 0.3 linear feet)
Series 10: Photographic Material, circa 1910-1979 (Boxes 4-5; 0.3 linear feet)
Steinitz married physician, Ernst Steinitz in 1913. The couple had three daughters including Ilse, Lotti, and Beate. In 1917, the family moved to Hanover, Germany. Over the next 17 years, the Steinitz household served as a salon for visiting artists including Naum Gabo, Hannah Höch, El Lissitzky, and Laszlo Moholy-Nagy. Visitors' notes and drawings from this era are documented in Steinitz's guestbook, Zu Gast bei Kate Steinitz, published by Galerie Gmurzynska in 1977.
Steinitz was most active as a fine artist while living in Hanover. Her paintings under glass were first exhibited in 1921 at Herbert von Garvens' gallery. Steinitz had her first solo exhibition in 1922 at the Gurlitt Gallery in Berlin. In 1926, her work was included in the International Exhibition of Modern Art at the Brooklyn Museum in New York.
Steinitz also collected art and her collection included artworks by El Lissitzky, Kurt Schwitters, László Moholy-Nagy, Paul Klee, Wassily Kandinsky, Auguste Rodin, Otto Nebel, Franz Marc, and others. In 1925, she collaborated with German artist Kurt Schwitters and Dutch artist Theo van Doesburg on Die Scheuche Märchen, a typographic children's book published by Aposs and Merz Verlag. Steinitz and Schwitters also collaborated on Der Zusammenstoss, an opera libretto. Steinitz compiled an archival collection documenting Schwitters' life and career which was later acquired by the National Gallery of Art Library in Washington, D.C. in 1976.
As a journalist, Steinitz wrote about art and lifestyle topics for newspapers and magazines in Hanover and Berlin. Growing Nazi influences caused the family to leave Germany for New York City in 1936. As Chairman of the Art Committee of Friendship House, a cultural organization for refugees, Steinitz organized the New Americans (1939-1940) exhibition of paintings, drawings, and sculpture by European refugees at the World's Fair in New York.
After finalizing her U.S. citizenship in 1944, Steinitz relocated to Los Angeles where she resided for the remainder of her life. From 1945 to 1961, she served as a librarian for Elmer Belt's Leonardo da Vinci library. When Belt donated the library to the University of California, Los Angeles in 1961, Steinitz was named honorary curator of the Elmer Belt Library of Vinciana. In 1969, Steinitz's literary contributions on Leonardo da Vinci earned her an invitation to deliver the lecture for the IX Lettura Vinciana in Venice, Italy.
The biographical information included here draws upon the following sources: Wilson Library Bulletin, Vol. 45 (1970) and Kate Steinitz: Art into Life into Art, exhibition catalog, Severin Wunderman Museum (1994).
Related Materials:
Kate Steinitz compiled a collection of archival materials about German artist and writer Kurt Schwitters and donated the materials to the National Gallery of Art Library located in Washington, D.C.
Kate Traumann Steinitz papers are also located at UCLA Library Special Collections.
Provenance:
The Kate Steinitz papers were donated to the Archives of American Art in 1999 by Ilse Berg, daughter of Kate Steinitz.
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 Kate Steinitz 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.
The papers of Xavier Gonzalez, a New York and Massachusetts painter, sculptor, educator, and owner of the Wellfleet Art Gallery, measure 14.1 linear feet and date from 1908 to 1997. The collection consists of biographical materials, correspondence, writings, project files, business records, printed materials, scrapbooks, photographs, and artwork.
Scope and Contents:
The papers of Xavier Gonzalez, a New York and Massachusetts painter, sculptor, educator, and owner of the Wellfleet Art Gallery, measure 14.1 linear feet and date from 1908 to 1997. The collection consists of biographical materials, correspondence, writings, commission project files, business records, printed materials, scrapbooks, photographs, and artwork.
Biographical materials include an address book and calendars, awards, passports, resumes, student rosters, and legal documents. Correspondence is with family, friends, and colleagues regarding Gonzalez's work and art school in Wellfleet, his uncle and artist Jose Arpa, and other personal and professional activities. Manuscripts for Notes About Painting, unpublished books, and various essays by Gonzalez, along with manuscripts by other authors are in writings.
Commission project files are found for a U.S. Bicentennial monument, murals in New York and Texas, paintings commissioned by the Department of the Interior and Life magazine, and educational aids for the U.S. Navy.
Business records include sales and inventory records for Gonzalez's Wellfleet Art Gallery, The Spanish Institute, and other galleries. Printed materials consist of printed representations of artwork, clippings, exhibition announcements and catalogs, invitations, press releases, and books including He Who Saw Everything, The Epic of Gilgamesh, illustrated by Gonzalez.
The collection also includes 72 numbered scrapbooks that contain sketches, printed materials, project plans, photographs, writings, correspondence, and business records. One of the scrapbooks contains a notebook labeled "Notes of Paris, Visits with Picasso, 1936-1938". Photographs are of Gonzalez, his artwork and studio, his family and friends, Ethel Edwards, student artwork, composer Aaron Copeland, museum director Philip R. Adams, and Art Students League director Stewart Klonis. Artwork includes illustrated notes to Ethel Edwards, folded and cutout paper projects, and pencil and painted sketches.
Arrangement:
The collection is arranged as 9 series.
Series 1: Biographical Materials, 1932-1992 (0.5 linear feet; Box 1)
Series 2: Correspondence, 1930s-1995 (1.0 linear feet; Boxes 1-2)
Series 3: Writings, 1948-1993 (0.5 linear feet; Boxes 2, 14)
Series 4: Project Files, 1942-1987 (0.5 linear feet; Boxes 2-3, OV 22)
Series 5: Business Records, 1949-1997 (0.5 linear feet; Boxes 3, OV 22)
Series 6: Printed Materials, 1928-1990s (1.5 linear feet; Boxes 4-5, OV 22)
Series 7: Scrapbooks, circa 1911-1980s (5.4 linear feet; Boxes 5-9, 14-20, OV 21)
Series 8: Photographs, 1908-1990s (3.5 linear feet; Boxes 9-12, 14)
Series 9: Artwork, circa 1950s-1980s (0.7 linear feet; Boxes 12-14)
Biographical / Historical:
Xavier Gonzalez (1898-1993) was a painter, sculptor, and educator who was active in New York, NY and Wellfleet, Massachusetts.
Gonzalez was born in Almeria, Spain and came to the United States at the age of 19. While working odd jobs in Chicago, he attended the Chicago Art Institute. Throughout his career, Gonzalez completed numerous commissions including murals in Texas and New York, a monument for the 1976 bicentennial celebration in New York, paintings for the Department of the Interior, and paintings of Egypt's Old Kingdom for Life magazine. During World War II, he designed posters and maps for the Navy. After the war, Gonzalez opened the Wellfleet Art Gallery with his wife, artist Ethel Edwards, in Wellfleet, Massachusetts. The gallery served as an exhibition space, studio, and art school where Gonzalez taught summer classes.
Gonzalez died in New York in 1993.
Related Materials:
Also found at the Archives of American Art are the papers of Xavier Gonzalez's wife, Ethel Edwards.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels N68-113, N69-42, N69-43, and N70-53. Most of this material was included in subsequent gifts, but a comparison of the film and papers was not completed. Loaned materials not donated at a later date remain with the lender and are not described in the container listing of this finding aid.
Provenance:
Xavier Gonzalez first loaned the Archives of American Art material for microfilming in 1968, most of which was included in the later 1999 gift. Gonzalez also donated a small amount of papers in 1971. Additional materials were donated by the George Arents Research Library at Syracuse University in 1984 and 1992, and by the estate of Ethel Edwards Gonzalez in 1999.
Restrictions:
Use of original papers requires an appointment and is limited to the Washington, D.C. Research Center.
Rights:
The Xavier Gonzalez 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.
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Scope and Content Note:
The papers of painter Oscar Bluemner date from 1886 to 1939, with one item from 1960, and measure 6.9 linear feet. The collection documents Bluemner's career through scattered biographical material and personal and professional correspondence. Almost one-half of the collection consists of Bluemner's extensive writings and notes about his artwork, painting techniques, and art theory in the form of diaries, notebooks, lists, essays, and notes - many of which are also illustrated. Also found are annotated books, exhibition catalogs, newsclippings, artwork and sketches by Bluemner, and photographs of Bluemner's artwork and of architecture. Bluemner's work in architecture is documented to a lesser degree through scattered licenses, photographs, and design drawings.
Biographical material is scattered and includes autobiographical writings, a list of published works, an essay for a Guggenheim fellowship application, certificates, legal documents, and membership records. Also of note are detailed technical diagrams of his studio easel. The small amount of correspondence in this collection is with family, friends, artists, art galleries and museums, art collectors and patons, and others. Notable correspondents include Stephan Bourgeois, Edward Bruce, Ernest Fiene, Arnold Friedman, Stefan Hirsch, Walter Hochschild, Margaret Lewisohn, Aline Liebman, George Ferdinand Of, Albert Rothbart, Alfred Stieglitz, and Ludwig Vogelstein.
Bluemner' extensive writings about his painting techniques and theories, and art history and criticism are found in painting and theory diaries, notebooks, notes, lists of artwork, essays, and writings for publication. Painting Diaries contain Bluemner's handwritten notes about newly-completed paintings and current work. Theory Diaries contain his notes on art theory. Both sets of diaries contain many color illustrations and sketches. Also of particular interest are Bluemner's notes and homemade notebooks on techniques which he often called "Easel Notes." Also found are notes on paintings he viewed in American art collections and four volumes of notes taken during his tour of Europe in 1912. Bluemner also maintained extensive notes on Chinese and Japanese art history and styles. Additional writings include a collection of notes he compiled and organized from his other diaries, notebooks, and writings for a book on painting.
Bluemner's papers also contain books and exhibition catalogs annotated with his notes and illustrations - many of which are on the subject of Chinese and Japanese art. Art motif and travel sketches contain motifs and artwork that Bluemner developed into themes for his paintings. Most of the travel sketches are of towns in New Jersey, but also include sketches and notes on Italy, which he visited in 1912. There is also a small sketchbook and drawings of buildings Bluemner designed.
Printed material includes exhibition catalogs and announcements, some of which are annotated with prices and additional information, as well as news and magazine clippings, and prints of published writings by Bluemner. Photographs found in the collection include three photographs of buildings Bluemner designed, photographs of artwork, one print of Bluemner, and negatives.
Arrangement:
The collection is arranged into 9 series:
Series 1: Biographical Material, 1886-circa 1937 (Box 1, OV 9; 0.2 linear feet)
Series 2: Correspondence, 1889-1936 (Box 1; 0.2 linear feet)
Series 3: Painting & Theory Diaries, 1911-1936 (Box 1-2, 7; 1.2 linear feet)
Series 4: Writings & Notes, 1891-1892, 1909-1937 (Box 2-4, 8; 2.2 linear feet)
Series 5: Annotated Books & Catalogs, 1907-1933 (Box 4-5; 1.0 linear feet)
Series 6: Art Motifs & Travel Sketches, 1902-1936 (Box 5-6, 8; 1.4 linear feet)
Series 7: Artwork, 1892-circa 1930s (Box 6; 4 folders)
Series 8: Printed Material, 1906-1939, 1960, undated (Box 6; 0.3 linear feet)
Series 9: Photographs, 1891, 1903, circa 1930s (Box 6; 5 folders)
Biographical Note:
Oscar Bluemner (1867-1938) was born Friedrich Julius Oskar Blümner in Prussia in 1867. As a child he received some formal art training. He enrolled in the architecture department of the Konigliche Technische Hochschule (Royal Technical Academy), Berlin, and received his architecture degree in 1892. A few months later he moved to the United States and worked in Chicago as a draftsman at the World's Columbian Exposition. After the exposition, Bluemner attempted to find work in both Chicago and New York City, but could not find steady employment. In 1903 he created the winning design for the Bronx Borough Courthouse, and for the next few years had various intermittent jobs as an architect in New York. Around this time Bluemner also began writing down his thoughts on aesthetics, art history, and art theory, which he would continue to do for the rest of his life in various journals, diaries, and notebooks.
In 1908 Bluemner met Alfred Stieglitz at Stieglitz's gallery, known as "291", and by 1910 he had decided to pursue painting full-time rather than architecture. From 1911 to 1912 he worked on a set of Neo-Impressionist paintings and, using the money he won in a suit regarding the Bronx Courthouse design, he went on a seven-month trip to Europe, touring museums and galleries, and exhibiting his own work in Germany. Upon returning to the United States, Bluemner exhibited in the 1913 Armory Show, and in 1915 had a one-man show at 291. Despite participating in several exhibitions, including solo shows, for the next ten years Bluemner failed to sell many paintings and lived with his family in near-poverty. In 1916 he moved to New Jersey, living as an itinerant, until finally settling in South Braintree, Massachusetts, after his wife's death in 1926. Over the next few years, Bluemner had several prominent one-man shows at the Whitney Studio Galleries and at the Marie Harriman Gallery in New York. He was briefly employed for the Public Works of Art Project in 1934 and the Federal Art Project in 1936, but due to failing health was forced to stop painting. Oscar Bluemner committed suicide in 1938.
Related Material:
Also found in the Archives of American Art is the John Davis Hatch papers, 1790-1995, which include correspondence, printed material, and research files regarding Oscar Bluemner.
Additional Oscar Bluemner materials are available at the Avery Architectural and Fine Arts Library, Columbia University, and within the Vera Bluemner Kouba Collection, Stetson University, Deland, Florida.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reel N737. Loaned materials were returned to the lender and are not described in the collection container inventory.
Provenance:
The material on reel N737 was lent by Graham Gallery in 1968. The rest of the collection was donated between 1970-1985 by John David Hatch, a close friend of Bluemner and an art historian.
Restrictions:
The collection has been digitized and is available online via AAA's website.
Rights:
The Oscar Bluemner 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.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
The collection has been digitized and is available online via AAA's website.
Collection Rights:
The Oscar Bluemner papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Collection Citation:
Oscar Bluemner papers, 1886-1939, 1960. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing and digitization of this collection was provided by the Terra Foundation for American Art.
