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Oral history interview with Walton Ford

Interviewee:
Ford, Walton, 1960-  Search this
Interviewer:
Gillespie, Benjamin, 1988-  Search this
Extent:
4 Items (4 SD memory cards; 32 sound files; 5 hrs., 56 min., digital, wav)
79 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Interviews
Sound recordings
Date:
2022 July 21 and July 26
Scope and Contents:
An interview with Walton Ford conducted 2022 July 21 and July 26, by Benjamin Gillespie for the Archives of American Art, at Ford's studio in Tribeca, New York.­
Biographical / Historical:
Walton Ford (1960- ) is a painter based in New York known for his watercolor paintings that engage with natural history, animal life, and human conceptions and misconceptions of the natural world.

Ben Gillespie (1988- ) is the Arlene and Robert Kogod Secretarial Scholar for Oral History at the Archives; he is an art historian based in New York and Massachusetts.
Provenance:
This interview is part of the Archives of American Art Oral History Program, started in 1958 to document the history of the visual arts in the United States, primarily through interviews with artists, historians, dealers, critics and administrators.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Rights:
The Archives of American Art makes its Oral History Program interviews available for non-commercial, educational and personal use unless restricted by donor restrictions, including but not limited to access and publication restrictions. Quotation, reproduction and publication of the recording is governed by restrictions. If an interview has been transcribed, researchers must quote from the transcript. If an interview has not been transcribed, researchers must quote from the recording. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Watercolorists  Search this
Topic:
Natural history in art  Search this
Watercolor painting  Search this
Genre/Form:
Interviews
Sound recordings
Identifier:
AAA.ford22
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw912e8d72b-9781-4bf1-b712-68558a8136d5
EDAN-URL:
ead_collection:sova-aaa-ford22
Online Media:

Katharine Lane Weems papers

Creator:
Weems, Katharine Lane, 1899-1989  Search this
Names:
Brookgreen Gardens  Search this
World's Columbian Exposition (1893 : Chicago, Ill.) -- Photographs  Search this
Cornell, Katharine, 1893-1974  Search this
Cresson, Margaret French, 1889-1973  Search this
Gildersleeve, Basil L. (Basil Lanneau), 1831-1924  Search this
Grafly, Charles, 1862-1929  Search this
Hancock, Walker Kirtland, 1901-1998  Search this
Huntington, Anna Hyatt, 1876-1973  Search this
Kroll, Leon, 1884-1974  Search this
Lane, Gardiner M., 1859-1914  Search this
Lane, Katharine Ward, 1862-1893  Search this
Manship, Paul, 1885-1966  Search this
Marans, Moissaye, 1902-1977  Search this
Monjo, Enric, 1895-1976  Search this
Putnam, Brenda, 1890-1975  Search this
Weinman, Adolph A. (Adolph Alexander), 1870-1952  Search this
Wong, Anna May, 1905-1961  Search this
Extent:
14.8 Linear feet
3 Items (rolled docs)
Type:
Collection descriptions
Archival materials
Sketchbooks
Video recordings
Place:
Saranac Lake N.Y. -- Photographs
Date:
1865-1989
Scope and Contents:
Biographical material, extensive diaries, correspondence, notes, writings, business records, sketchbooks and drawings, project files, scrapbooks, printed materials, photographs and slides, motion picture film, and videotape relating to Weem's education and career as a sculptor. Also included are ca. 1 foot of papers of Weems' aunt, watercolorist Katharine Ward Lane (1862-1893), including letters, diaries, sketchbooks and photographs.
REEL 724: Biographical sketch, 1974; letters from Frederic Bartlett, George Demetrios, Walker Hancock, Leon Kroll, Lee Lawrie, Moissaye Marans, Adolph Alexander Weinman, and others; four sketchbooks, 1954-1965, containing pencil drawings of animals; a scrapbook of clippings, 1924-1941; and printed material.
UNMICROFILMED: Biographical material includes sketches and documents, and biographical information on Weems grandfather, Basil Lanneau Gildersleeve, and father, Gardiner Lane. Diaries (74 v.), 1906-1983, contain entries relating to art studies and her development as a sculptor; some include clippings and photographs. Correspondence, 1898-1989, includes letters from Gifford Beal, Margaret French Cresson, Charles Grafly, John Gregory, Walker Hancock, Malvina Hoffman, Anna Hyatt-Huntington, Paul Manship, Brenda Putnam, Gurdon Tarbox, and Adolph Weinman, discussing Weems' work and participation in various sculpture organizations. There are four notebooks on art history; recipes for clay and plaster; notes on patinas for bronze; lecture notes; lists of Weems' works and exhibitions; an exhibition guest book, 1931-1957; poems, 1933-1981; invoices and receipts, 1919-1981; copyright records, 1928-1978; and art work, including 15 v. of sketchbooks, 1913-1964, drawings and tracings of animal figures. and a copper printing plate mounted on a wood block.
Fourteen project files contain letters, drawings, photographs, and printed material on: an enlarging machine, the Saltus Medal for Merit, the frieze and Rhinoceros sculpture for the Biological Laboratories at Harvard, 1930-1942, including 7 reels of 16mm motion picture film (with script transferred to VHS), the Lotta Fountain, 1939-1974, Legion of Merit Medal, 1949-1952, War Department project, 1946, Goodwin Medal, 1949-1952, Wallace Goodrich Plaque, 1954, Hospital Teaching Clinic, 1955, Boston Museum of Science, 1964-1965, "Dolphins by the Sea" for the New England Aquarium, 1969-1979, Heredities Limited, 1971-1974, and the Museum School, 1977.
Included are two scrapbooks, one of clippings about the work of other artists and one containing poems, clippings of landscapes, animals, works by others, and autographed photographs of actresses Katharine Cornell and Anna May Wong and sculptor Brenda Putnam. Printed material includes clippings, 1911-1989; exhibition announcements and catalogs, 1922-1981; bulletins, programs, brochures on artists, organizations, Brookgreen Gardens, and supplies; reproductions of art works, and the books, Odds Were Against Me (1985, Weems autobiography, and Enrique Monjo (1955), inscribed by Mongo.
Photographs and slides, 1902-1988, are of Weems, family members, artists Charles Grafly, Walker Hancock, and Anna Hyatt-Huntington, Weems' house "The Chimneys," her studio, gardens, animals, works of art by Weems and others, exhibit installations, and views of New York City, Washington, D.C., Monticello, the University of Virginia, and Brookgreen Gardens. Nine albums, 1920-1980, contain photographs of an art class, Weems in her studio, her home, her friends, scenic views, and works of art. Videos and film include a videotape (5 min., U-matic) of an interview of Weems; a film, "From Clay to Bronze," showing the creation of Weems' sculpture "Dark Warrier" (transferred to VHS); motion picture film of the making of the sculpture "Rhinoceros" (transferred to digital betacam, VHS and DVD), and a home movie of a day at the beach, circa 1935.
The papers' of Weems' aunt, Katharine "Kitty" Ward Lane (d. 1893), include Lane's letters, 1898-1893, to her brother (Weems' father) and to other family members; a travel diary from Germany, 1886; notes; financial records, 1891-1892; 10 sketchbooks; printed material; and photographs, 1865-1893, of Lane, early views of Saranac Lake, and 9 views of the Columbia Exposition, 1893.
Biographical / Historical:
Sculptor; Boston, Mass. Died 1989. Specialized in animal sculpture. Studied at the School of the Museum of Fine Arts, Boston under Charles Grafly, Anna Hyatt-Huntington, George Demetrios, and Brenda Putnam. She married F. Carrington Weems in 1947. Named after her aunt, watercolor painter Katharine Ward Lane, who died in 1893.
Provenance:
Material on reel 724 lent for microfilming by Weems, 1974. The four sketchbooks on reel 724 were subsequently donated in 1989. Unmicrofilmed papers were donated 1975 and 1982 by Weems, and in 1989 by her estate. Eighteen diaries (1961-1965, 1967-1976 [1969 not included], 1978, and 1981-1983) and an apppointment book for 1966 donated by the Schlesinger Library, Radcliffe College, 1991.
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.
Occupation:
Animal sculptors -- Massachusetts -- Boston  Search this
Sculptors -- Massachusetts -- Boston  Search this
Watercolorists -- Massachusetts -- Boston  Search this
Topic:
Art -- Study and teaching -- Massachusetts -- Boston  Search this
Artists' studios -- Photographs  Search this
Women artists  Search this
Women painters  Search this
Women sculptors  Search this
Animal sculpture  Search this
Genre/Form:
Sketchbooks
Video recordings
Identifier:
AAA.weemkath
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96c1a0919-a71e-4b49-9b63-7e7e27c9052f
EDAN-URL:
ead_collection:sova-aaa-weemkath

Jacob Epstein, Sculptor

Artist:
Walter Ernest Tittle, 9 Oct 1883 - 27 Mar 1966  Search this
Sitter:
Jacob Epstein, 10 Nov 1880 - 19 Aug 1959  Search this
Medium:
Drypoint on paper
Dimensions:
Image (overall): 25.4 × 20 cm (10 × 7 7/8")
Sheet (overall): 35.1 × 27 cm (13 13/16 × 10 5/8")
Mat (overall): 45.7 × 35.6 cm (18 × 14")
Type:
Print
Date:
c. 1932
Topic:
Home Furnishings\Furniture\Seating\Chair  Search this
Home Furnishings\Furniture\Table  Search this
Tool\Mallet  Search this
Jacob Epstein: Male  Search this
Jacob Epstein: Visual Arts\Artist\Sculptor  Search this
Jacob Epstein: Visual Arts\Artist\Illustrator  Search this
Jacob Epstein: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift from the Trustees of the Corcoran Gallery of Art (Bequest of Frank B. Bristow) The Corcoran Gallery of Art, one of the country’s first private museums, was established in 1869 to promote art and American genius. In 2014 the Works from the Corcoran Collection were distributed to institutions in Washington, D.C.
Object number:
NPG.2019.83
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm4f28f6571-7055-48a8-a379-6c258298020d
EDAN-URL:
edanmdm:npg_NPG.2019.83

Ferargil Galleries records

Creator:
Ferargil Galleries  Search this
Names:
Arkell, Bartlett  Search this
Benton, Thomas Hart, 1889-1975  Search this
Bliss, Lizzie P. (Lizzie Plummer), 1864-1931  Search this
Carlsen, Emil, 1853-1932  Search this
Dabo, Leon, 1868-1960  Search this
Davey, Randall, 1887-1964  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Diedrich, Hunt  Search this
Lawson, Ernest, 1873-1939  Search this
Lowrie, Agnes Potter  Search this
Lucioni, Luigi, 1900-1988  Search this
Miller, Barse, 1904-1973  Search this
Parrish, Maxfield, 1870-1966  Search this
Parsons, Lloyd  Search this
Pike, John, 1911-1979  Search this
Platt, Dan Fellows, 1873-1938  Search this
Price, F. Newlin (Frederic Newlin)  Search this
Sample, Paul, 1896-1974  Search this
Sawyer, Wells, 1863-1960  Search this
Van Soelen, Theodore  Search this
Van Vleck, Natalie, 1901-1974  Search this
Willams, Lois  Search this
Photographer:
Käsebier, Gertrude, 1852-1934  Search this
Extent:
18.7 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Prints
Drafts (documents)
Gallery records
Scrapbooks
Sketches
Date:
circa 1900-1963
Summary:
The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.
Scope and Content Note:
The Ferargil Galleries records date from circa 1900-1963 and document the activities of this New York gallery that dealt primarily in American contemporary art from shortly after its 1915 founding by Frederic Newlin Price (1884-1963) to it's closure in 1955. 18.7 linear feet of records include incoming and outgoing correspondence with artists, dealers, schools and colleges, and museums and other art institutions; artist files; estate and legal records including papers relating to the Arthur B. Davies estate; gallery business and financial records; printed material; scrapbooks; scattered personal papers of Price; artwork; and photographs of artists, exhibitions and artwork.

Correspondence is both incoming and outgoing and documents the day-to-day activities of the galleries, primarily from the 1920s to the 1950s. Significant correspondence with, or relating to, many of the artists represented by Ferargil Galleries can be found here including correspondence with Bartlett Arkell, Thomas Hart Benton, Randall Davey, Hunt Diedrich, Ernest Lawson, Agnes Potter Lowrie, Luigi Lucioni, Barse Miller, Maxfield Parrish, John Pike, Paul Sample, Wells M. Sawyer, Theodore van Soelen and many others.

Artist files consist primarily of material compiled about artists represented by Ferargil Galleries, including biographical information, press releases for exhibitions, and scattered price lists and information about individual works of art.

Estate and legal records include estate inventories for the estates of Lizzie P. Bliss, Arthur B. Davies, and Dan Fellows Platt, and document several legal actions involving Ferargil Galleries. Of particular significance are the records documenting Price's involvement with the estate of Arthur B. Davies, including correspondence with Davies's wife, Virginia, and sales and inventory records for Davies's artwork at Ferargil Galleries and elsewhere.

Business and financial records date primarily from the 1920s and document inventories, sales, insurance, shipping, and taxes for the bulk of the gallery's operating years.

Printed material contains Ferargail Galleries exhibition catalogs and announcements from 1918 to the 1950s in addition to scattered printed material from other galleries and one folder relating to Arthur B. Davies.

Scrapbooks provide a more comprehensive and detailed history of the gallery's exhibitions, through multiple news clippings of press coverage, in addition to catalogs, announcements, and photographs. Of particular note is a circa 1908 photograph of Arthur B. Davies taken by Gertrude Kasëbier.

Scattered personal records of Frederic Newlin Price document Price's work with the Benjamin West Society at Swarthmore College and further reveal Price's interests through an inventory of his art collection and drafts and copies of his writings on artists such as Arthur B. Davies, and on changing trends and tastes in the art world.

A small series of artwork includes 6 pencil sketches, a print, 3 plans, and an Arthur B. Davies exhibition catalog mock-up with pencil sketches, all by unidentified artists.

Gallery photograph files include some photos of artists such as Emil Carlsen, Leon Dabo, Lloyd Parsons, Natalie Van Vleck and Lois Williams, in addition to 13 folders of photos relating to collections and exhibitions, and photographs of artwork.
Arrangement:
The collection is arranged as 9 series:

Missing Title

Series 1: Correspondence, 1920s-1963 (Boxes 1-15; 6.0 linear ft.)

Series 2: Artist Files, circa 1920s-1950s (Boxes 16-17; 0.7 linear ft.)

Series 3: Estate and Legal Records, circa 1925-circa 1939 (Boxes 17-18; 0.3 linear ft.)

Series 4: Business and Financial Records, 1919-1956 (Boxes 18-21; 1.2 linear ft.)

Series 5: Printed Material, circa 1900-1956 (Boxes 21-22; 0.7 linear ft.)

Series 6: Scrapbooks, circa 1920s-1950s (Boxes 23-34, 40, OV 41; 5.4 linear ft.)

Series 7: Frederic Newlin Price Records, 1920s-1950s (Box 34; 6 folders)

Series 8: Artwork, circa 1920s-circa 1950s (Box 34, OV 41; 2 folders)

Series 9: Photographs, circa 1920-1950s (Boxes 35-39, OV 40; 4.4. linear ft.)
Historical Note:
Frederic Newlin Price (1884-1963) opened Ferargil Galleries in 1915 at 24 East 49th Street and 607 Fifth Avenue in New York City. Art critic W. Frank Purdy (1865-1943)was the President of the Art Alliance of America in 1918 and director of the School of American Sculpture worked at the galleries as director of sculpture.

Named from a combination of "fer" (ferrous-iron) and "argil" (clay), Ferargil Galleries dealt in wrought iron, sculpture, paintings and prints, and focused on exhibitions of work by American artists such as George Bellows, Thomas Hart Benton, Emil Carlsen, John Steuart Curry, Arthur B. Davies, W. Hunt Diederich, Thomas Eakins, Edward Hicks, Ernest Lawson, Albert P. Ryder and Grant Wood. Ferargil was also known for its representation of a group of contemporary watercolorists including Charles Dickinson, Phil Dike, Hardie Gramatky, Barse Miller, and Paul Sample.

In 1927 the business moved to 37 East 57th Street (later 63 East 57th Street) and housed a print room, a sculpture gallery with a fountain, and the main painting galleries.

In 1931 Price became the Director of the newly-formed Benjamin West Society at his alma mater, Swarthmore College. There, he promoted the arts at Swarthmore through annual lectures and exhibitions by contemporary artists and also acquired artwork for the college, primarily by Benjamin West. Price served as President of the American Art Dealers Association in the early 1930s and published a number of books and articles on artists including Arthur B. Davies, Walter Griffin, Eric Hudson, Ernest Lawson, Arthur P. Ryder and Horatio Walker.

Price closed Ferargil Galleries in 1955.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming (reels D321-D322, and N68-14-N68-15) including personal and business correspondence with artists and other records. Lent materials were returned to the lender and are not described in the collection container inventory.
Provenance:
In 1958, Frederic Newlin Price donated circa 70 letters to the Archives of American Art and loaned material for microfilming on reels D321-D322. The remaining records were donated anonymously in 1968.
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.
Topic:
Art, American -- New York (State) -- New York  Search this
Art -- Collectors and collecting  Search this
Gallery owners  Search this
Function:
Art galleries, Commercial -- New York (State)
Genre/Form:
Photographs
Prints
Drafts (documents)
Gallery records
Scrapbooks
Sketches
Citation:
Ferargil Galleries records, 1900-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.feragall
See more items in:
Ferargil Galleries records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw93168e3a9-3aa5-43c5-8811-da96c9975228
EDAN-URL:
ead_collection:sova-aaa-feragall
Online Media:

Walt Kuhn Family papers and Armory Show records

Creator:
Kuhn, Walt, 1877-1949  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
Kit Kat Club (New York, N.Y.)  Search this
Penguin Club (New York, N.Y.)  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Kuhn, Brenda, 1911-  Search this
Kuhn, Vera, d. 1961  Search this
Oldfield, Otis, 1890-1969  Search this
Pach, Walter, 1883-1958  Search this
Quinn, John, 1870-1924  Search this
Sheeler, Charles, 1883-1965  Search this
Photographer:
Rainford, Percy  Search this
Weston, Edward, 1886-1958  Search this
Extent:
31 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Diaries
Scrapbooks
Sound recordings
Date:
1859-1984
bulk 1900-1949
Summary:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.
Scope and Contents note:
The Walt Kuhn Family papers and Armory Show records measure 31 linear feet and date from 1859 to 1984, with the bulk of material dating from 1900 to 1949. Papers contain records of the legendary Armory Show of 1913, also known as the International Exhibition of Modern Art, which introduced modern European painting and sculpture to the American public. Papers also contain records of the Association of American Painters and Sculptors (AAPS), the artist-run organization that mounted the Armory Show; records of the New York artists' clubs the Kit Kat Club (founded 1881) and the Penguin Club (founded 1917); and the personal and family papers of New York artist Walt Kuhn (1877-1949), one of the primary organizers of the Armory Show.

As Secretary for the AAPS, Kuhn retained the bulk of existing records of that organization and of the Armory Show. Minutes and correspondence make up most of the AAPS records (Series 2), as well as documents related to John Quinn's legal brief against a tariff on imported works of living artists. Armory Show Records (Series 1) include personal letters, voluminous business correspondence, a record book, miscellaneous notes, inventories and shipping records, two large scrapbooks, printed materials, a small number of photographs, and retrospective accounts of the show. The printed materials and photographs in Kit Kat Club and Penguin Club Records reflect Kuhn's deep involvement in those clubs.

The Walt Kuhn Family Papers (Series 4) contain records of his artwork, career, travels, personal and professional associations, family members, and work in vaudeville, film, and interior design. Notable among the family papers are illustrated letters and other cartoons; sketches, drawings, watercolors, and prints; candid letters from Walt to Vera Kuhn discussing art scene politics and personalities in New York, Paris, Chicago, Los Angeles, San Francisco, Florida, and the Midwest; general correspondence with artists, dealers, collectors, journalists, writers, models, and fans; notes in index card files containing biographical anecdotes of the Kuhns' many contacts; provenance files that document the origin and fate of Kuhn's paintings, sculptures, and prints; papers relating to Kuhn's exhibitions and his relationships with the Marie Harriman Gallery and Durand-Ruel Gallery; and photographs and drawings depicting Kuhn's early years in Munich, Germany and Fort Lee, New Jersey; trips to Nova Scotia, New England, the Western United States, and Europe; New York and summer studios, among other subjects.
Arrangement:
This collection has been arranged into 4 series, with multiple subseries in Series 1 and 4.

Missing Title

Series 1: Armory Show Records, 1912-1963 (Boxes 1-2, 27-31, 56, OV 36; 3.6 linear feet)

Series 2: Association of American Painters and Sculptors (AAPS) Records, 1911-1914, undated (Box 3; 0.2 linear feet)

Series 3: Kit Kat Club and Penguin Club Records, 1909-1923, undated (Box 3, 32, 56, OVs 37-38; 0.5 linear feet)

Series 4: Walt Kuhn Family Papers, 1859-1984, undated (Box 3-26, 32-35, 56-57, OVs 39-55, 58; 26.7 linear feet)

In general, documents are arranged chronologically, alphabetically, or by type of material. Copy negatives and copy prints made from documents in this collection have been filed separately from originals, in a folder marked "copy." Duplicates of original records made or obtained by the Kuhns have been filed separately as well.

Existing envelopes are filed in front of correspondence and enclosures directly after. Correspondence in the Armory Show Records and AAPS Records is arranged alphabetically, and correspondents are listed in the box inventory following series descriptions below.
Biographical/Historical note:
Walt Kuhn (1877-1949) was an etcher, lithographer, and watercolorist, as well as being a teacher, an advisor to art collectors, an organizer, and a promoter of modern art. He played a key role in the art scene of New York City in the early 20th century, and was among the small group that organized the infamous Armory Show of 1913, officially known as the International Exhibition of Modern Art, held at the 69th Regiment Armory building in New York City. After the Armory Show, Kuhn went on to a distinguished career as a painter. He was best known for his sober oil portraits of show people, clowns, acrobats, and circus performers, but was equally prolific in landscapes, still lifes, and figure and genre drawings.

Walt Kuhn was born in Brooklyn, NY in 1877. After a brief career as a bicycle shop owner in downtown Brooklyn, Kuhn traveled West in 1899 to San Francisco, CA and earned his living as a cartoonist for newspapers such as Wasp. After two years in California, he moved back East and then on to Europe to pursue further art training. He briefly attended the Académie Colarossi studio in Paris, but quickly moved to Munich where he joined the class of Heinrich von Zügel in the Royal Academy.

Kuhn returned to New York City in 1904 and took up an active role in the art scene there, participating in the Salmagundi Club and the Kit Kat Club, teaching at the New York School of Art, and cartooning for Life, Judge, Puck, and other publications. In 1910, he participated in an exhibition of Independent Artists on 35th St. with Robert Henri and met artist Arthur B. Davies.

In 1911, when the National Academy of Design opened their annual exhibition, Kuhn, Henry Fitch Taylor, Elmer MacRae, and Jerome Myers were exhibiting at Clara Potter Davidge's Madison Gallery. To these four young artists, the Academy exhibition was typically lackluster, and the attention it received was unwarranted. Sensing that they were not alone in their attitude, they decided to organize. They invited a dozen other artists to join them, thus forming the Association of American Painters and Sculptors (AAPS). The group elected Kuhn Secretary and Arthur B. Davies President, and with the help of attorney and art collector John Quinn, they incorporated and began raising funds for an independent exhibition the following year.

In September of 1912, at Davies' suggestion, Kuhn traveled to Cologne, Germany to view the Sonderbund Internationale Kunst-Austellung. There he saw presented, in overwhelming volume, the work of his European contemporaries and their modern antecedents, the post-impressionists. He immediately began selecting and securing artwork for the upcoming AAPS exhibition. Kuhn traveled through Germany, Holland, France, and England, visiting private collectors, dealers, and artists. In Paris, Kuhn was joined by Davies and American artist and art agent Walter Pach. Kuhn and Davies sailed for New York in November, leaving the details of European arrangements to Pach.

The resulting Armory Show exhibition opened in New York in February 1913, and a selection of the foreign works traveled to Chicago and Boston in March and April. It included approximately 1300 American and European works of art, arranged in the exhibition space to advance the notion that the roots of modernism could be seen in the works of the old masters, from which the dramatically new art of living artists had evolved. Savvy and sensational publicity, combined with strategic word-of-mouth, resulted in attendance figures over 200,000 and over $44 thousand in sales. The Armory Show had demonstrated that modern art had a place in the public taste, that there was a market for it and legitimate critical support as well.

During the first World War, Kuhn stayed in NY and was active in the Kit Kat Club, an artists' club founded in 1881, which provided its members with collective studio space, live models, exhibitions, and an annual costume ball. In 1917, Kuhn founded another group called the Penguin Club, which had similar objectives to the Kit Kat Club, but with Kuhn himself as the gatekeeper. In addition to exhibitions and costume balls, the Penguin Club held summer outings and stag dinners, and maintained collective studio and exhibition space on East 15th Street in Manhattan. Its members included Americans and European artists displaced by the war in Europe. In the 1920s, Kuhn expanded a few sketches he had written for Penguin Balls into full-blown vaudeville productions, some of which were incorporated into larger musical revues such as The Merry Go Round and The 49ers and traveled around the country. Kuhn's theater work continued until 1928, and his fascination with show business continued to influence him throughout his life.

In the 1920s and 1930s, Kuhn gradually achieved recognition for his artwork, with sales to private collectors and dealers including Edith Halpert, Merritt Cutler, Lillie Bliss, John Quinn, and Marie Harriman. Kuhn also promoted other young painters whose work he liked, including Otis Oldfield, Lily Emmet Cushing, John Laurent, Frank di Gioia, and the self-taught Vermont artist Patsy Santo. Sometimes artists would contact him by mail, asking for lessons or advice. His lengthy letters to students offer coaching in technique and subject matter, as well as in the overall problem of success in art.

In 1929, Kuhn moved into the 18th St. studio that he would keep until the end of his life. He kept a rack of costumes in the studio, mostly made by Vera Kuhn, and his models, many of them stage and circus performers, would come and sit for Kuhn's portraits. The same year his painting The White Clown was exhibited at the newly established Museum of Modern Art in New York, bringing intense publicity and sales interest. Around this time, Kuhn began to receive the support of collector Duncan Phillips and curator Juliana Force of the Whitney Museum of American Art, both of whom made purchases and consistently exhibited his work.

Marie Norton Whitney Harriman, second wife of railroad magnate and diplomat W. Averell Harriman, shared a professional liaison with Kuhn that would take many forms and last until his death. Soon after the success of The White Clown, Kuhn established a relationship with the Marie Harriman Gallery, where he participated in group and solo shows during the height of his career. Kuhn also traveled with the Harrimans to Europe in 1931, where the three visited important private collections and acquired many valuable modern paintings for the Harrimans. Their collection, so heavily influenced by Kuhn's ideas about art, would eventually go to the National Gallery of Art.

Kuhn was an artist who understood the art business and never shied away from it. For Kuhn, promoting the ideas and practitioners of a certain brand of modernism was an expression of both aesthetic ideology and pragmatic self-interest. His contribution to the public discourse on modernism situated his own work at the heart of art history and the marketplace. Regardless of his motivations, he was indisputably a key player at a pivotal time in American art, when academic art was riotoulsy overturned to make way for modernism. His paintings are now held in major museum collections around the country, where most of them arrived with bequests from the collectors Kuhn had cultivated so carefully in his lifetime.

Sources consulted for this biography include The Story of the Armory Show (1988) by Milton W. Brown, Walt Kuhn, Painter: His Life and Work (1978) by Philip Rhys Adams, and "Walt Kuhn" by Frank Getlein, in the 1967 catalog of the Kennedy Galleries, Inc.
Related Archival Materials note:
The Archives of American Art holds the papers of Walter Pach, the European representative of the Armory Show.
Provenance:
The Walt Kuhn Family papers and Armory Show records were loaned for microfilming and later donated to the Archives of American Art by Walt Kuhn's daughter Brenda Kuhn in several installments between 1962 and 1979. An additional accession of letters, photographs, and an artifact was purchased by the Archives in 2000. Another addition was donated by Terry DeLapp, Kuhn's dealer, in 2015.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.

Researchers interested in accessing audiovisual recordings in this collection must use access copies. Contact References 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:
Etchers -- New York (State) -- New York  Search this
Watercolorists -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
New York school of art  Search this
Modernism (Art)  Search this
Function:
Arts organizations -- New York (State)
Genre/Form:
Drawings
Diaries
Scrapbooks
Sound recordings
Citation:
Walt Kuhn Family papers and Armory Show records, 1859-1984. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.kuhnwalt
See more items in:
Walt Kuhn Family papers and Armory Show records
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw99ee222af-4da2-4011-b910-9e0933a5f81e
EDAN-URL:
ead_collection:sova-aaa-kuhnwalt
Online Media:

Sir Jacob Epstein

Artist:
Raymond Coxon, 18 Aug 1896 - 31 Jan 1997  Search this
Sitter:
Jacob Epstein, 10 Nov 1880 - 19 Aug 1959  Search this
Medium:
Oil on canvas
Dimensions:
Accurate: 61 x 51 cm (24 x 20 1/16")
Frame: 73.7 × 63.7 × 3.5 cm (29 × 25 1/16 × 1 3/8")
Type:
Painting
Date:
c. 1948
Topic:
Interior  Search this
Costume\Headgear\Hat\Cap  Search this
Jacob Epstein: Male  Search this
Jacob Epstein: Visual Arts\Artist\Sculptor  Search this
Jacob Epstein: Visual Arts\Artist\Illustrator  Search this
Jacob Epstein: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.89.43
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm40d520f3d-b082-4187-b54c-98e243d5886a
EDAN-URL:
edanmdm:npg_NPG.89.43

Joan Combs Rudman papers, 1969-1997

Creator:
Rudman, Joan Combs  Search this
Citation:
Joan Combs Rudman papers, 1969-1997. Archives of American Art, Smithsonian Institution.
Topic:
Watercolorists -- United States -- Sources  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)6274
(DSI-AAA_SIRISBib)216619
AAA_collcode_rudmjoan
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_216619

Joan Combs Rudman papers

Creator:
Rudman, Joan Combs  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1969-1997
Summary:
The papers of watercolorist and educator Joan Combs Rudman measure 0.2 linear feet and date from 1969 to 1997. Found are materials relating to Rudman's incomplete book project on twenty contemporary American women watercolorists.
Scope and Contents:
The papers of watercolorist and educator Joan Combs Rudman measure 0.2 linear feet and date from 1969 to 1997. Found are materials relating to Rudman's incomplete book project on twenty contemporary American women watercolorists.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Joan Combs Rudman (1927- ) is a watercolorist and educator in Stamford, Connecticut. Rudman worked on a book project discussing twenty American women watercolorists.
Provenance:
Donated 1999 by Joan Combs Rudman.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Watercolorists -- Connecticut -- Stamford  Search this
Educators -- Connecticut -- Stamford  Search this
Painters -- Connecticut -- Stamford  Search this
Topic:
Watercolorists -- United States -- Sources  Search this
Women artists  Search this
Women painters  Search this
Women educators  Search this
Citation:
Joan Combs Rudman papers, 1969-1997. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.rudmjoan
See more items in:
Joan Combs Rudman papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9273c5fe8-b473-47f3-b920-bb1826c9a64f
EDAN-URL:
ead_collection:sova-aaa-rudmjoan

Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson, circa 1890-1990

Creator:
Robinson, Florence Vincent, 1874-1937  Search this
Subject:
Hapgood, Elizabeth Reynolds  Search this
Citation:
Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson, circa 1890-1990. Archives of American Art, Smithsonian Institution.
Topic:
Women artists  Search this
Women painters  Search this
Theme:
Women  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)11089
(DSI-AAA_SIRISBib)239268
AAA_collcode_robiflor
Theme:
Women
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_239268

Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson

Creator:
Robinson, Florence V., 1874-1937  Search this
Names:
Hapgood, Elizabeth Reynolds  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
circa 1890-1990
Summary:
The scattered papers of painter Florence V. Reynolds and the Hapgood Family research material regarding Reynolds measure 0.2 linear feet and date from circa 1890 to 1990. Found are biographical materials on Reynolds and three photographs. Research materials includes correspondence between the Hapgood family and institutions and museums, lists of works of art, and exhibition material. A thesis by Janet Silverman is on Robinson.
Scope and Contents:
The scattered papers of painter Florence V. Reynolds and the Hapgood Family research material regarding Reynolds measure 0.2 linear feet and date from circa 1890 to 1990. Found are biographical materials on Reynolds and three photographs. Research materials includes correspondence between the Hapgood family and institutions and museums, lists of works of art, and exhibition material. A thesis by Janet Silverman is on Robinson.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Florence V. Robinson (1874-1937) was a painter, primarily a watercolorist, in New York City, New York and Petersham, Massachusetts.

Elizabeth Reynolds Hapgood is the daughter of Robinson's longtime companion, Margaret Reynolds.
Provenance:
The collection was donated in 2003 by David Hapgood, the son of Elizabeth Reynolds Hapgood. The papers were compiled by Robinson as well as her executor, Elizabeth Reynolds Hapgood, Hapgood's daughter, Elizabeth Hapgood Backman, and son, David Hapgood.
Restrictions:
This collection is open for research. Access to original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Painters -- New York (State) -- New York  Search this
Painters -- Massachusetts -- Petersham  Search this
Watercolorists -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women painters  Search this
Citation:
Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson, circa 1890-1990. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.robiflor
See more items in:
Florence V. Robinson papers and the Hapgood family collection relating to Florence V. Robinson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98767c368-d657-4acc-9538-742982f2f748
EDAN-URL:
ead_collection:sova-aaa-robiflor

Dong Kingman

Artist:
William Arthur Smith, 19 Apr 1918 - 27 Apr 1989  Search this
Sitter:
Dong Kingman, 31 Mar 1911 - 12 May 2000  Search this
Medium:
Oil on canvas
Dimensions:
50cm x 60.9cm (19 11/16" x 24"), Accurate
Type:
Painting
Date:
c. 1950
Topic:
Interior  Search this
Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this
Dong Kingman: Male  Search this
Dong Kingman: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
1178-P-830
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm44a6afa0e-d8c6-4b25-a4ab-c24c14bd7a10
EDAN-URL:
edanmdm:npg_1178-P-830

Wayman Eldridge Adams

Artist:
Charles Webster Hawthorne, 1872 - 1930  Search this
Sitter:
Wayman Elbridge Adams, 1883 - 1959  Search this
Medium:
Oil on canvas
Dimensions:
76.1cm x 63.5cm (29 15/16" x 25"), Accurate
Type:
Painting
Date:
c. 1901
Topic:
Personal Attribute\Facial Hair\Mustache  Search this
Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this
Wayman Elbridge Adams: Male  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Sculptor  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Printmaker\Etcher  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Portraitist  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Painter\Landscape painter  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Printmaker\Lithographer  Search this
Wayman Elbridge Adams: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
553-P-404
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4984a79a7-5412-48fd-9781-10c04cd5b7aa
EDAN-URL:
edanmdm:npg_553-P-404

George Harvey

Artist:
George Peter Alexander Healy, 15 Jul 1813 - 24 Jun 1894  Search this
Sitter:
George Harvey, 1800? - 1878  Search this
Medium:
Oil on canvas on Masonite
Dimensions:
50.6cm x 40.5cm (19 15/16" x 15 15/16"), Accurate
Type:
Painting
Date:
c. 1830
Topic:
Interior  Search this
Costume\Dress Accessory\Stock  Search this
Personal Attribute\Facial Hair\Muttonchops  Search this
Costume\Dress Accessory\Neckwear\Jabot  Search this
George Harvey: Male  Search this
George Harvey: Visual Arts\Artist\Painter\Miniaturist  Search this
George Harvey: Visual Arts\Artist\Painter\Landscape painter  Search this
George Harvey: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
554-P-268
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4b35084ab-2159-4149-a950-21c3c741d8d4
EDAN-URL:
edanmdm:npg_554-P-268

Emil Jean Kosa, Jr.

Artist:
Emil Jean Kosa, Jr., 1903 - 1968  Search this
Sitter:
Emil Jean Kosa, Jr., 1903 - 1968  Search this
Medium:
Oil on canvas
Dimensions:
60.9cm x 50.5cm (24" x 19 7/8"), Accurate
Type:
Painting
Date:
c. 1948
Topic:
Interior  Search this
Costume\Dress Accessory\Eyeglasses  Search this
Self-portrait  Search this
Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this
Emil Jean Kosa, Jr.: Male  Search this
Emil Jean Kosa, Jr.: Visual Arts\Artist\Portraitist  Search this
Emil Jean Kosa, Jr.: Visual Arts\Artist\Painter\Landscape painter  Search this
Emil Jean Kosa, Jr.: Visual Arts\Designer  Search this
Emil Jean Kosa, Jr.: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
710-P-1258
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm445dfdad0-7f04-4570-8ec3-de946b3afbb6
EDAN-URL:
edanmdm:npg_710-P-1258

Antonio Pietro Martino

Artist:
Antonio Pietro Martino, 13 Apr 1902 - 3 Sep 1988  Search this
Sitter:
Antonio Pietro Martino, 13 Apr 1902 - 3 Sep 1988  Search this
Medium:
Oil on canvas
Dimensions:
76.4cm x 63.5cm (30 1/16" x 25"), Accurate
Type:
Painting
Date:
c. 1938
Topic:
Costume\Jewelry\Watch  Search this
Equipment\Smoking Implements\Pipe  Search this
Personal Attribute\Facial Hair\Mustache  Search this
Artist's Effects\Paintbrush  Search this
Costume\Smock  Search this
Self-portrait  Search this
Costume\Dress Accessory\Neckwear\Tie\Necktie  Search this
Antonio Pietro Martino: Visual Arts\Artist  Search this
Antonio Pietro Martino: Male  Search this
Antonio Pietro Martino: Visual Arts\Artist\Painter\Landscape painter  Search this
Antonio Pietro Martino: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
Owner: National Academy of Design
Object number:
830-P-512
Restrictions & Rights:
Usage conditions apply
See more items in:
Catalog of American Portraits
Data Source:
Catalog of American Portraits
GUID:
http://n2t.net/ark:/65665/sm4ba42f6d5-4ca9-4ca8-9c34-2d4fbb5bda86
EDAN-URL:
edanmdm:npg_830-P-512

John Marin

Artist:
Isabella Howland, 1895 - 1974  Search this
Sitter:
John Marin, 23 Dec 1870 - 2 Oct 1953  Search this
Medium:
Charcoal on paper
Dimensions:
Image: 41 × 22 cm (16 1/8 × 8 11/16")
Sheet: 48.4 × 32 cm (19 1/16 × 12 5/8")
Type:
Drawing
Date:
c. 1945-50
Topic:
Caricature  Search this
Costume\Dress Accessory\Neckwear\Tie\Bowtie  Search this
John Marin: Male  Search this
John Marin: Visual Arts\Artist\Painter\Landscape painter  Search this
John Marin: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution
Object number:
NPG.88.46
Restrictions & Rights:
Usage conditions apply
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm437f3f948-beb3-4efa-a269-d07624f90f37
EDAN-URL:
edanmdm:npg_NPG.88.46

John Marin

Artist:
Paul Strand, 16 Oct 1890 - 31 Mar 1976  Search this
Sitter:
John Marin, 23 Dec 1870 - 2 Oct 1953  Search this
Medium:
Gelatin silver print
Dimensions:
Image: 12 × 9.4 cm (4 3/4 × 3 11/16")
Sheet: 12.8 × 10.3 cm (5 1/16 × 4 1/16")
Mat: 45.9 × 35.7 cm (18 1/16 × 14 1/16")
Type:
Photograph
Place:
United States\Maine
Date:
1927
Topic:
Costume\Headgear\Hat  Search this
Costume\Dress Accessory\Neckwear\Tie  Search this
Equipment\Smoking Implements\Cigarette  Search this
John Marin: Male  Search this
John Marin: Visual Arts\Artist\Painter\Landscape painter  Search this
John Marin: Visual Arts\Artist\Painter\Watercolorist  Search this
Portrait  Search this
Credit Line:
National Portrait Gallery, Smithsonian Institution; gift of the Aperture Foundation
Object number:
NPG.90.119.A
Restrictions & Rights:
Usage conditions apply
Copyright:
© Aperture Foundation Inc., Paul Strand Archive
See more items in:
National Portrait Gallery Collection
Data Source:
National Portrait Gallery
GUID:
http://n2t.net/ark:/65665/sm48bf79a88-f735-4755-9713-4b83ce481c3e
EDAN-URL:
edanmdm:npg_NPG.90.119.A

Jean Ellen Jones research material on Lizzie Wilkerson

Creator:
Jones, Jean Ellen, 1942-  Search this
Names:
Georgia State University  Search this
Wilkerson, Lizzie, 1900-1984  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Slides (photographs)
Video recordings
Date:
1978-1984
Summary:
The Jean Ellen Jones research material on African American artist Lizzie Wilkerson measures 0.2 linear feet and date from 1978 to 1984. The collection includes printed material, photographic material, and a video recording, Everything That Grows and Moves: The Art of Lizzie Wilkerson.
Scope and Contents:
The Jean Ellen Jones research material on African American artist Lizzie Wilkerson measures 0.2 linear feet and date from 1978 to 1984. The collection includes printed material, photographic material, and a video recording, Everything That Grows and Moves: The Art of Lizzie Wilkerson.

Printed Material includes photocopies of clippings, an exhibition catalog from the 1983 Georgia State University Art Gallery exhibition curated by Jean Ellen Jones, and cards with reproductions of Wilkerson's work. Photographic material includes a black and white portrait of Lizzie Wilkerson and color slides of her work.
Arrangement:
This collection is arranged in two series.

Series 1: Printed Material, 1983-1984 (Box 1; 4 folders)

Series 2: Photographic Material, 1978-1983 (Box 1; 3 folders)
Biographical / Historical:
Jean Ellen Jones is an art historian in Atlanta, Georgia. She taught at Georgia State University and curated a traveling exhibition of Lizzie Wilkerson's work for the Georgia State University Art Gallery in 1983.

Lizzie Wilkerson (1895-1984) was an African American self-taught artist. She worked as a share-cropper and a maid and began painting at the age of 77. She worked primarily in watercolor and pen to create images depicting farm animals, crops, fish, Bible stories, and spiritual matters. Her work is held in collections at the American Folk Art Museum, the Smithsonian American Art Museum, and the High Museum of Art.
Provenance:
The Jean Ellen Jones research material on Lizzie Wilkerson was donated to the Archives of American Art by Jean Ellen Jones in 1986 and 1987.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
Occupation:
Art historians -- Georgia  Search this
Educators -- Georgia  Search this
Topic:
African American artists  Search this
Folk art  Search this
Self-taught artists  Search this
Watercolorists  Search this
Women artists  Search this
Women art historians  Search this
Women educators  Search this
Women painters  Search this
Genre/Form:
Photographs
Slides (photographs)
Video recordings
Citation:
Jean Ellen Jones research material on Lizzie Wilkerson, 1978-1984, Archives of American Art, Smithsonian Institution.
Identifier:
AAA.jonejean
See more items in:
Jean Ellen Jones research material on Lizzie Wilkerson
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw968436439-c483-4942-ba67-bc8e507ba056
EDAN-URL:
ead_collection:sova-aaa-jonejean

Alma W. Thomas Retrospective Exhibition (1972), Corcoran Gallery of Art, Printed Material

Collection Creator:
Thomas, Alma  Search this
Container:
Box 3, Folder 2
Type:
Archival materials
Date:
1972
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96e955016-3fd5-4ba0-a399-d49ebda11106
EDAN-URL:
ead_component:sova-aaa-thomalma-ref812
3 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View Alma W. Thomas Retrospective Exhibition (1972), Corcoran Gallery of Art, Printed Material digital asset number 1
  • View Alma W. Thomas Retrospective Exhibition (1972), Corcoran Gallery of Art, Printed Material digital asset number 2
  • View Alma W. Thomas Retrospective Exhibition (1972), Corcoran Gallery of Art, Printed Material digital asset number 3

A Life in Art: Alma Thomas 1891-1978 (1981-1982), National Museum of American Art, Printed Material

Collection Creator:
Thomas, Alma  Search this
Container:
Box 3, Folder 14
Type:
Archival materials
Date:
1981-1983
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Use of archival audiovisual recordings with no duplicate copies requires advance notice.
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:
Alma Thomas papers, circa 1894-2001. Archives of American Art, Smithsonian Institution.
See more items in:
Alma Thomas papers
Alma Thomas papers / Series 4: Exhibition Files
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9d0b4c83e-b6c3-43f3-8fa1-b6081f47f390
EDAN-URL:
ead_component:sova-aaa-thomalma-ref824
1 Page(s) matching your search term, top most relevant are shown: View entire project in transcription center
  • View A Life in Art: Alma Thomas 1891-1978 (1981-1982), National Museum of American Art, Printed Material digital asset number 1

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