The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California "light and space" artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Scope and Contents:
The papers of California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002) date from 1958-1992, and measure 17.45 linear feet. The collection includes documentation of Wortz's tenure at the University of California, Irvine (UCI), where she specialized in collecting and presenting the California Light and Space artists during the 1970s and 1980s. Wortz's papers include biographical information, personal and professional correspondence, interview transcripts and sound recordings, professional and student writings and notes, diaries of five trips abroad, UCI administrative, dossier, and teaching files, general subject and artist files, printed material, several pieces of artwork; and photographs.
Wortz's biographical material includes annotated appointment books and calendars, resumes, and some family, financial, and legal records.
Correspondence files document Wortz's activities beyond her work at UCI, including scattered correspondence with artists such as Eleanor Antin, Daniel Barber, Christo, Craig Kauffman, Cork Marchesi, Martha Rosler, Eve Sonneman, Hap Tivey, and Elsa Warner. Correspondence also relates to arrangements for lectures, juries, panels, symposiums, and other professional activities in which Wortz participated.
Interviews include transcripts of four interviews conducted by Wortz with subjects including Peter Lodato and Dewain Valentine, and a sound recording of an interview with Nina Wiener.
Writings and notes include drafts, and some published copies, of articles and essays written for journals, magazines, and exhibition catalogs; Wortz's dissertation and thesis; notes; student essays and class notes; and scattered writings by others. Included in the published works are copies of Artweek containing articles by Wortz, and drafts and published copies of essays on Larry Bell, Robert Irwin, Jasper Johns, Jay McCafferty, Isamu Noguchi, Robert Rauschenberg, Klaus Rinke, Beth Ames Schwartz, and James Turrell.
Diaries document five separate overseas trips to locations including Asia in 1977, Paris in 1978, and the U.S.S.R., where Wortz delivered a paper on Robert Irwin, in 1989.
University of California, Irvine, records include Wortz's administrative files documenting her work on various committees, her directorship of the Fine Arts Gallery, including budget and exhibition records, her work as Chair of Studio Art, and her collaborations with other faculty, including Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small. Wortz's dossier files provide a thorough record of her accomplishments from the late 1970s-1990, and her UCI teaching files document the content of core art courses which she taught at UCI in the 1970s and 1980s.
Subject files provide additional documentation of Wortz's interest in particular artists and subjects, and include scattered correspondence with artists, as well as additional correspondence, reports, printed material, index card files, sound cassettes, and photographs, documenting her interests in art and politics, feminism, religion and spirituality, museum management and training, and other subjects.
Printed material includes announcements, catalogs, journals, newsletters, and material specifically documenting Wortz's activities.
Artwork includes a piece of floor covering from a Jim Dine exhibition, a booklet by Daniel Barber, Flams by Rena Livkin, and several pieces of unidentified artwork.
Photographs include photos of Wortz with her family and with UCI faculty including Tony DeLap, Craig Kauffman, and Ed Moses; photos of events with friends and family, including Hap Tivey's wedding to Liza Todd with Elizabeth Taylor in attendance; photos of artists including Frederick Eversley, Bill Harding, Jack Ox, and Stephen Zaimo; and photos of artwork by artists including Tony DeLap, Barbara Smith, Marc Van Der Marck, and others.
Arrangement:
The collection is arranged as ten series.
Missing Title
Series 1: Biographical Materials, 1966-1988 (0.25 linear feet; Boxes 1, 19)
Series 2: Correspondence, 1967-1992 (1.25 linear feet; Boxes 1-2, 18)
Series 3: Interviews, 1971-circa 1980s (6 folders; Boxes 2, 18)
Series 4: Writings and Notes, 1958-circa 1990 (4.25 linear feet; Boxes 2-6, 19)
Series 5: Diaries, 1977-1989 (6 folders; Box 6)
Series 6: University of California, Irvine, 1960-1991 (4.8 linear feet; Boxes 6-11, OV 20)
Series 7: Subject Files, circa 1960-1990 (4.25 linear feet; Boxes 11-15, 18)
Series 8: Printed Material, 1960s-1980s (1.8 linear feet; Boxes 15-16, 19)
Series 9: Artwork, circa 1960s-circa 1980s (3 folders; Boxes 17, 19)
Series 10: Photographs, 1960s-1980s (0.6 linear feet; Boxes 17, 19)
Biographical / Historical:
California art historian, writer, instructor, and curator, Melinda Wortz (1940-2002), taught at the University of California, Irvine, from 1975, serving as Director of UCI's Fine Arts Gallery and Chair of the Department of Studio Art. Wortz's special area of interest was the work of the California "light and space" artists emerging in Los Angeles in the 1970s.
After attending Stanford University and graduating from Radcliffe College with a bachelors degree in art history, Wortz received her masters degree in art history from the University of California, Los Angeles, and her doctorate in theology and the arts from the Graduate Theological Union at Berkeley. Wortz taught at California State University and the University of California Extension in the early 1970s. At UCI her colleagues included Judy Baca, Sandy Ballatore, Tony Delap, Craig Kauffman, and Rena Small.
Wortz married Edward C. Wortz in the early 1970s, following her divorce from her first husband, Thomas G. Terbell, Jr. Edward Wortz's first career was as a research scientist working on NASA contracts in the air research industry in Colorado and California. Later he was involved in the arts and participated in collaborations with artists including Robert Irwin, Coy Howard, and James Turrell. He worked with Melinda Wortz to develop their personal collection of contemporary art.
Melinda Wortz was a prolific writer who wrote extensively for national art periodicals, including Arts Magazine, and Art News. She also wrote, and served as editor, for the California periodical Artweek from the 1960s to 1990s. She wrote numerous catalogs for artists including Larry Bell, Cork Marchesi, Doug Moran, Beth Ames Schwartz, and James Turrell; and published articles on Dan Flavin, Robert Irwin, Roy Lichtenstein, Jasper Johns, Robert Rauschenberg, Frank Stella, and others. She lectured at Brown University, the Center for Art, Salt Lake City, Contemporary Art Museum, La Jolla, the Massachusetts Institute of Technology, the San Diego Museum, Wellesley College, the Whitney Museum of American Art, and many other institutions. In 1989 she traveled to the U.S.S.R. to deliver a paper on Robert Irwin at the International Art Critics Association annual meeting.
In addition to her curatorial work at the UCI Fine Arts Gallery, where she organized exhibitions for artists including Alice Aycock, Jonathan Borofsky, Audrey Flack, Jack Ox, and Dennis Oppenheim, Wortz curated exhibitions for University of California sister colleges, Pasadena Art Museum, and others.
Wortz received UCI and National Endowment for the Arts grants in support of her writing, and served on advisory boards of the Contemporary Arts Forum, Los Angeles Institute of Contemporary Art, Santa Barbara, Robert Rauschenberg's foundation, Advisory Board of Change, Inc., the Pasadena Art Museum, and others.
Wortz was diagnosed with Alzheimers disease at the age of 50 and died in 2002.
Provenance:
The collection was donated by Edward C. Wortz, Melinda Wortz's husband, in 1994.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Archives of American Art makes its archival collections available for non-commercial, educational and personal use unless restricted by copyright and/or donor restrictions, including but not limited to access and publication restrictions. AAA makes no representations concerning such rights and restrictions and it is the user's responsibility to determine whether rights or restrictions exist and to obtain any necessary permission to access, use, reproduce and publish the collections. Please refer to the Smithsonian's Terms of Use for additional information.
Occupation:
Art historians -- California -- Los Angeles Search this
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
Collection Citation:
William Jones World War II Scrapbook, NASM.2006.0067, National Air and Space Museum, Smithsonian Institution.
Kaslov, Steve, ca. 1888-1949 (King of the Red Bandanna Romany Gypsies ) Search this
Extent:
0.25 Cubic feet (4 boxes)
Type:
Collection descriptions
Archival materials
Photographs
Oral history
Interviews
Audio cassettes
Place:
Virgin Islands -- 1930-1940
New York (N.Y.) -- 1930-1940
Bowery (New York, N.Y.) -- 1930-1940
Chinatown (New York, N.Y.) -- 1930-1940
St. Thomas (Virgin Islands) -- 1930-1940
Date:
1985 - 1986
1930 - 1943
Scope and Contents:
This collection contains 273 silver gelatin photoprints (Series 1), most of which apparently were made during the 1930s and early 1940s, contemporaneously with the original negatives. All are 8" x 10" or slightly smaller, unmounted except for flush mounted linen on the backs of some prints. The photographs were made primarily in two locations, New York City and the Virgin Islands. The Virgin Islands pictures were made as part of a special documentary project in 1939, as described above, whereas the New York photographs stem from Mr. Alland's largely self assigned documentation of various ethnic and religious groups in New York from approximately 1932 to 1943. The projects include photographs of the "Red Bandanna" Romany Gypsy group in the Bowery, a black Jewish congregation, Mohawk Indians in Brooklyn, and other groups, which required extensive exploration, research, and photographing over periods of many days or weeks. A variety of miscellaneous ethnic and religious groups are covered in the general "Other Religions" and "Nationalities" folders. The contents of the "Judaism" folder include primarily New York sites and people, but there are also additional views of a synagogue from the Virgin Islands project.
Series 2 of the collection contains four cassette tape recordings of two interviews with Mr. Alland, three made by Richard Ahlborn (with Eugene Ostroff and Matt Salo) in 1985, and one by David Haberstich and Richard Ahlborn, June 2-3, 1986 (at which time the photographs were donated). The tapes include readings from his autobiography, personal reminiscences on his experiences as an immigrant and a photographer, and commentary on the photographs.
Arrangement:
The collection is arranged into two series.
Series 1: Photoprints, 1930-1943
Series 2: Audiotape Cassettes, 1985-1986
The photographs are arranged topically and by nationality.
Biographical / Historical:
Alexander Alland, Sr., was born in Sevastopol, Crimea (formerly in the Soviet Union) on 6 August 1902. His last name originally was Landschaft, but he legally changed it to Alland following the birth of his son. Alland's interest in photography began at the age of twelve, when he helped a local photographer with darkroom work. He constructed his own camera from cardboard with a simple meniscus lens and exposed glass plate negatives with the device.
Toward the end of the Civil War in Russia in 1920, Alland relocated in Constantinople, Turkey, where he was hired as an apprentice by a graduate of the Vienna Academy of Photography. When the Union Nationale des Combatants Francais went on a pilgrimage to Gallipoli, a former battle zone on the Dardanelles, he was asked to accompany them in order to document events. After having his request for a pay increase refused, he left his employer two years later and opened his own portrait studio, "Photo d'Art Russe." When civil unrest threatened Constantinople in 1923, he decided to emigrate to the United States.
During his first years in the United States he worked in photo finishing businesses while engaged in home portraiture independently. He married in 1929 and a son, Alexander, Jr., was born. In the 1930s he became one of the best known photographers portraying the life of immigrants and various ethnic groups in New York. (1) In 1936 he was appointed supervisor of the Photo Mural section of the W.P.A. Federal Art Project, and worked as a free lance photographer for magazines and periodicals featuring the activities of various ethnic groups living in New York City. He specialized in making photomurals with montage techniques. (2)
In 1937 Alland became photography instructor at the American Artists' School and joined the American Artists Congress. In 1939, his first book, Portrait of New York, was published and he became president of the "Exploration Photo Syndicate" and went to the U.S. Virgin Islands as part of a project to produce a pictorial record of the West Indian Islands. His photographs appeared in publications and were exhibited at the New School for Social Research and at the Schomberg Collection. In 1942 he joined the staff of Common Ground magazine as photography editor and was appointed by the National Youth Administration to supervise their photography workshop. His book American Counterpoint appeared in 1943 and was selected as "One of the Fifty Best Books of the Year." The original prints from that book were exhibited at the Museum of the City of New York, which also exhibited a portfolio of his work on American Gypsies. In 1944 he became director of an agency, "Pictures for Democracy," and in 1945 his book The Springfield Plan was proclaimed another "One of the Fifty Best Books of the Year."
During World War II Alland did technical photography for the War Department, receiving a commendation for this work. After another book My Dog Rinty was published, he left New York City to establish a school of photography, combined with a school of dance directed by his wife, Alexandra, a professional dancer and choreographer. (3) He then began to exhibit his own photographs and to collect glass plate negatives and vintage prints by significant photographers. He is perhaps best known for locating a collection of Jacob Riis negatives and making them available. In 1974 Aperture published his biography, Jacob A. Riis: Photographer and Citizen4. Because of his efforts in providing the Riis negatives to the Museum of the City of New York, that institution awarded a special commemorative medal to him in 1973. The Riis book was followed by two more studies of photographers, Jessie Tarbox Beals, First Woman News Photographer (5) and Heinrich Tonnies, Cartes de Visite Photographer Extraordinaire. (6)
Retrospective exhibitions of Alland's work were held in two major Danish museums in summer 1979 and he was honored for contributions to the cultural history of Denmark. In 1991 studies for his photomural work were included in an historical survey exhibition of American photomontage at the University of Maryland at College Park. (7).
Sources
1. My text is based upon the biographical information recorded on my taped interviews with Mr. Alland in this collection, but see also Bonnie Yochelson, The Committed Eye: Alexander Alland's Photography. New York: The Museum of the City of New York, Inc., 1991.
2. Merry A. Foresta, "Art and Document: Photography of the Works Progress Administration's Federal Art Project," in Official Images: New Deal Photography (essays by Foresta, Pete Daniel, Maren Stange, and Sally Stein), Washington: Smithsonian Institution Press, 1987, p. 153, based on an interview with Alland, January 1987.
3. Photographic historian Anne Peterson, contractor for three Archives Center photographic collection projects between 1986 and 1982, reports that she studied ballet as a child with Mrs. Alland.
4. Ibid.
5. Ibid.
6. Ibid
7. See catalog by Cynthia Wayne, Dreams, Lies, and Exaggeration: Photomontage in America. The Art Gallery, University of Maryland at College Park, 1991 (exhibition at the gallery Oct. 21 Dec. 20, 1991).
Related Materials:
Materials in the Archives Center
Carlos de Wendler Funaro Gypsy Research Collection (AC0161)
Contains additional Alland photographs. De Wendler Funaro also photographed Steve Kaslov, his family, and his Bowery coppersmith workshop.
Provenance:
Collection donated by Alexander Alland, June 3, 1986.
Restrictions:
Collection is open for research.
Rights:
Copyrighted material: photographs may not be reproduced without written permission from the Estate of Alexander Alland, Sr.
Topic:
Synagogues -- Photographs -- 1930-1940 -- New York, N.Y. Search this
Newspapers -- Photographs -- 1930-1940 -- New York N.Y. Search this
Muslims -- Photographs -- 1930-1940 -- New York N.Y. Search this
Minorities -- Housing -- 1930-1940 -- New York (State) -- New York Search this
Minorities -- Housing -- 1930-1940 -- Virgin Islands Search this
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Sally K. Ride Papers, Acc. 2014-0025, National Air and Space Museum, Smithsonian Institution.
The collection has been digitized and is available online via AAA's website.
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:
Hugo Gellert papers, 1916-1986. 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 Louis Lozowick Papers measure 5.9 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.
Scope and Content Note:
The Louis Lozowick Papers measure 5.9 linear feet and are dated 1898-1974. Correspondence, writings, business records, printed material and photographs document Lozowick's career. Also included are biographical documents, sketches, and records relating to organizations that interested him.
Correspondence with colleagues, commercial clients, organizations, museums and galleries, family and friends, concerns business and personal affairs. A small number of letters are in Russian, Yiddish, German, and French. Writings include manuscripts, drafts, and notes for articles, books, reviews, and talks on art related subjects and other topics. Among Lozowick's notes are seven notebooks relating to published and unpublished writings.
Business records consist of an extensive alphabetical file recording sales and consignments, loans for exhibitions, and other financial transactions, accompanied by related printed material. Originally housed in loose leaf notebooks, these files are arranged by name of gallery, museum, organization, or event. In addition, there are a small number of loose receipts.
Lozowick retained printed matter, unpublished notes and writings, and miscellaneous items relating to organizations and groups of interest to him. The American Artists' Congress and the John Reed Club files are of particular interest; because he served as an officer in these organizations, his papers include copies of minutes, reports, and official correspondence.
Printed material includes exhibition catalogs, invitations and announcements. Material by Lozowick consists of articles, reviews, illustrations and reproductions. In addition, there are articles and miscellaneous items about Lozowick including announcements of his lectures, a course syllabus, and brochure about a tour of the U.S.S.R. led by him. Miscellaneous printed material includes research materials collected by Lozowick for his writing; illustrations of artists at work, in their studios, galleries, etc., and a 1922 broadside in French and Russian announcing a lecture.
Photographs include images of Lozowick and his family. Of particular interest is a photograph of Lozowick at a 1934 demonstration sponsored by the John Reed Club and Artists' Union. Photographs of works of art include works by Lozowick, as well as by American, European, and Russian artists; many of these, including lantern slides, may have been used to illustrate his lectures and writings. Among the miscellaneous subjects are Lozowick's studio, the Soviet Pavilion at the 1939 World's Fair, and an unidentified Soviet exhibition installation.
Also included are small number of biographical documents and sketches in pen and ink.
Arrangement:
The collection is arranged into 8 series. Glass plate negatives and lantern slides are housed separately and closed to researchers.
Series 2: Correspondence, 1916-1974 (Boxes 1-2; 1.25 linear ft.; Reels 5893-5895)
Series 3: Writings and Notes, 1917-circa 1970 (Boxes 2-3; 1.5 linear ft.; Reels 5895-5897)
Series 4: Business Records, 1929-1973 (Box 3; 0.25 linear ft.; Reel 5897-5898)
Series 5: Organizations, 1930-1972 (Box 4; 0.4 linear ft.; Reel 5898)
Series 6: Printed Material, 1920-1974 (Boxes 4-5 and OV 7; 1.25 linear ft.; Reels 5898-5899)
Series 7: Sketches, n.d. (Box 5; 1 folder; Reel 5899)
Series 8: Photographs, 1898-1973 (Boxes 5-6, 8; 1.05 linear ft.; Reel 5899)
Biographical Note:
Louis Lozowick (1892-1973) is known for his lithographs of New York City, many in the Precisionist mode. As a very young boy in the Ukraine, Lozowick showed an aptitude for drawing. At age eleven, with an older brother, he moved from his rural hometown to Kiev, where he received training at the Kiev Art Institute. In 1906, Lozowick came to the United States, joining a brother in New Jersey. While in high school, and for several years afterwards, Lozowick studied at the National Academy of Design under Leon Kroll, George Willloughby Maynard, Ivan Olinsky, and Douglas Volk. He graduated from Ohio State University in 1918 with a degree in art.
After a year's stint in the medical corps of the U.S. Army, Lozowick headed to Paris in the fall of 1920, where he studied French at the Sorbonne. By early 1922, he had settled in Berlin and was enrolled at the Friedrick Wilhelms Universität. During this time, Lozowick began painting seriously, made his first lithographs, and established friendships with many Russian artists in Germany, including El Lissitsky; he also made a trip to Moscow, where he met a number of leading Russian artists. While living in Berlin, Lozowick had his first solo show at K. E. Twardy Book Shop in 1922, and a second at the Gallerie Alfred Heller in the following year.
Lozowick worked mainly as a graphic artist and supplemented his income with commercial work. In addition, he taught art history and lithography classes, lectured, and wrote about art. During the Depression he worked with the Public Works of Art Project, New York City, for a brief time in 1934. Between 1935 and 1940, he was employed by the Graphic Arts Division of the Works Progress Administration.
Russian art, art and artists in the Soviet Union, and Jewish art were among the topics that particularly interested Lozowick. He wrote extensively on these subjects and others, publishing many articles and reviews. While living in Berlin, he wrote for Broom and contributed translations to that periodical. Two major manuscripts, a book about William Gropper and a memoir titled Survivor From a Dead Age, appeared posthumously. In addition, he was a founder of the New Masses, a contributing editor, and eventually its art editor.
One of the organizers of the John Reed Club in 1929 and a charter member, Lozowick became its Executive Secretary in 1931 and remained active throughout the club's five-year existence. In 1935, Lozowick participated in organizing the first American Artists' Congress, became the group's Executive Secretary, and for several years was an extremely active member of the New York chapter.
Throughout his long career, Louis Lozowick exhibited widely in local and national exhibitions. He won a number of awards and was invited to spend several summers in residence at the Yaddo artists' colony.
Provenance:
Gift of Louis and Adele Lozowick, 1966-1980. Various portions were microfilmed on reels D254-D254A, and 1333-1337. In 2004, all portions of the gift were merged, reprocessed, and remicrofilmed.
Restrictions:
The microfilm of this collection has been digitized and is available online via AAA's website. Use of material not microfilmed or digitized requires an appointment. Glass plate negatives and lantern slides are housed separately.
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:
Lithographers -- New York (State) -- New York Search this
Genre/Form:
Photographs
Writings
Sketches
Citation:
Louis Lozowick Papers, 1898-1974. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the digitization of the microfilm of this collection was provided by the Terra Foundation for American Art. Glass plate negatives in this collection were digitized in 2019 with funding provided by the Smithsonian Women's Committee.
The papers of Dorothy Dehner measure approximately 4.5 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.
Scope and Content Note:
The papers of Dorothy Dehner measure approximately 4.5 linear feet and date from 1920 to 1987, with the bulk of the material dating from 1951 to 1987. The collection documents the life and work of the sculptor. Papers include extensive correspondence, business and financial papers, writings, interviews, printed material, photographs, student papers, one item of art work, and scattered personal papers and material relating to David Smith.
Comprising a series of biographical material are interviews (mostly untranscribed), personal papers such as notes on Dehner's biography and career, list of things taken from Bolton Landing, recipes, and a wedding announcement for her stepdaughter, Abby Mann Thernstrom, and material relating to David Smith such as a copy of his last will and testament, a letter of introduction (dating from their trip to Europe in the mid-1930s), and a chronology of Smith's life.
Correspondence consists of numerous letters and enclosures concerning both professional and personal matters. Correspondents include artists, museums, galleries, art dealers, researchers, curators, friends, and relatives. Correspondence documents Dehner's various personal and professional relationships, the active role she played in promoting and exhibiting her art work, as well as the key role she played in fostering art historical research (on David Smith, herself, and other artists of her era), and her many other creative activities, including her various writing efforts.
Found amongst Dehner's business and financial papers are records relating to various galleries and/or exhibitions, including the Willard Gallery and exhibitions at the Philadelphia Art Alliance and Parsons-Dreyfuss Gallery, and to various projects, such as the Committee for the American Participation in the Triennale and the Great Southwest Industrial Park, as well as scattered records relating to personal business matters and finances, such as lists, tax records, authentication of art works, and sales agreements.
Dehner's writings include poems (including one dated from high school and drafts of ones published in Tracks), various pieces on John Graham (including versions of a memoir, which were published as a foreword to the re-issue of System and Dialectics of Art and as an article in Leonardo) and on David Smith (including articles on their first meeting and on Smith's 1940 work, "Medals for Dishonor"), lectures and speeches, and various pieces on art and other topics. Writings shed light on other aspects of Dehner's creativity and concern. Also included are writings of others, some of which shed light on Dehner's life and work.
Also found amongst Dehner's papers are printed material, including exhibition catalogs, announcements, and clippings (on herself and Smith, and to a limited extent, on other artists); an undated etching by Dehner which seems to have originally belong to Garnett McCoy, former Curator of the Archives; and photographs of Dehner, her second husband, Ferdinand Mann, John Graham, and various works of art, as well as an abstract photograph by David Smith, dating from circa 1934.
Arrangement:
The Dorothy Dehner papers are arranged into 7 series:
Missing Title
Series 1: Biographical Material, 1935-1982 (bulk 1950s-1982) (Box 1; 0.5 linear feet)
Series 2: Correspondence, 1927-1987 (Boxes 1-4; 2.6 linear feet)
Series 3: Business and Financial Papers, 1940-1985 (Box 4; 0.3 linear feet)
Series 4: Writings, 1920, 1951-1987 (Box 4; 0.3 linear feet)
Series 5: Printed Material, 1940-1987 (Boxes 4-5; 0.6 linear feet)
Series 6: Art Work, undated (OV1; 1 item)
Series 7: Photographs, 1930s-1986 (Box 5; 0.1 linear feet)
The collection has not been re-filmed to reflect the above arrangement. In an effort to provide continued access to the existing microfilm, microfilm reel information was gathered from previous box and folder labels and is provided, where possible, in parentheses after folder titles in the container listing below. Unfilmed material has likewise been noted. Researchers should note that reel numbers have not been verified.
Biographical Note:
Dorothy Dehner was born in Cleveland, Ohio in 1901. Her father died when she was about ten and the family moved to Pasadena, California in 1915. After the death of her mother and sister, she was raised by her mother's sister, Aunt Florence. Dehner was exposed to art as a child, receiving instruction in drawing and painting. She studied drama for a year at UCLA in 1922-1923 before moving to New York with the intention of pursuing a theatrical career. In 1925, she traveled alone to Europe, where she visited Italy, Switzerland, and France and where she began to draw seriously.
Upon her return to New York, Dehner enrolled in the Art Students League intending to study sculpture, but, uninspired by the work of William Zorach's sculpture class, ended up studying drawing with Kimon Nicolaides instead. In 1926, she met fellow artist David Smith in the rooming house they shared. At her suggestion, he too enrolled in the Art Students League. In 1927, they were married.
At the League, Dehner and Smith studied with the modernist painter, Jan Matulka, and befriended Weber and Thomas Furlong, through whom they met the Russian painter and theoretician, John Graham. Graham introduced them to the avant-garde art world and ended up having a profound influence on them both and their work. Around this time, they also befriended other young artists, such as Adolph Gottlieb, Mark Rothko, and Edgar and Lucille Corcos Levy. In 1929, after a visit to the Furlong's summer home in upstate New York, Dehner and Smith bought a farm in Bolton Landing, which became their permanent home in 1940 and was later named Terminal Iron Works. They spent eight months in the Virgin Islands, in 1931-1932, where Dehner painted abstract still lifes of shells and marine life. In the fall of 1935, they traveled to Europe, where they met up with Graham in Paris, spent five months in Greece, and toured the Soviet Union, with other stops along the way.
During her years at Bolton Landing (from 1940 to 1950), Dehner progressed in her work, producing a series of paintings titled Life on the Farm and embarking upon a series of abstract geometric drawings in ink and watercolor. In 1943, she had a joint exhibition with Smith at the Albany Institute of History and Art. Three years later, she participated in the annual exhibition of Audubon Artists and was awarded a first prize for drawing; and in 1948, she had her first one-woman show at Skidmore College.
Dehner left Bolton Landing in 1950 (she was divorced from Smith two years later) and returned to school, earning her degree from Skidmore College in 1952. She moved back to New York City, and supported herself over the next several years by teaching at various schools, including the Barnard School for Girls. She had her first solo exhibition in the city at the Rose Fried Gallery, and studied engraving at Stanley William Hayter's Atelier 17. At this point, Dehner started making sculpture, first experimenting in wax and then casting her wax sculptures in bronze. In 1955, she began working at the Sculpture Center, and from this point on, focused mainly on sculpture with occasional forays in drawing and print-making. In addition to works in bronze, she went on to create sculptures in wood (during the 1970s) and steel (during the 1980s).
In 1955, Dehner married the New York publisher, Ferdinand Mann. That same year, she joined the Willard Gallery, run by Marian Willard. She had her first exhibition of drawings there in 1955 (which led to a solo exhibition at the Art Institute of Chicago) and her first sculpture show there in 1957; she continued to show at the Willard Gallery regularly until 1976. Over the next several decades, Dehner's work was frequently exhibited in solo and groups shows at museums and galleries across the country, and was acquired for both public and private collections.
In addition to her art work, Dehner was also a published poet and writer. She wrote the foreword to the 1971 re-issue of John Graham's System and Dialectics of Art, and an essay on David Smith's "Medals for Dishonor," which was published in Art Journal in 1977. And two of her poems, "Past Tense" and "Two Lines," appeared in the journal Tracks in 1977.
Dehner continued to work into her nineties. She passed away in 1994.
Related Material:
Other resources in the Archives relating to Dorothy Dehner include oral history interviews with Dehner, October 1965 and December 1966, and a photograph of Dehner by Dena, 1966.
Separated Material:
The Archives of American Art also holds microfilm of material lent for microfilming on reels D298 (portions), D298A, 1269 (portions) and 1372, including photographs of Dorothy Dehner and David Smith, sketchbooks, correspondence between Dehner and Smith, an inventory, and some printed material. Lent materials were returned to the lender. To aid researchers, an attempt has been made to note the corresponding reel number for each folder in the collection container listing.
Provenance:
The Dorothy Dehner papers were donated 1967-1987 in increments by Dorothy Dehner. She also lent materials for microfilming between 1967 and 1977, some of which was subsequently donated. The art work in the collection most likely belonged to Garnett McCoy originally, and was included in the collection during processing in 2005.
Restrictions:
The collection is open for research. Use requires an appointment and is limited to the Washington, D.C. research facility.
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:
Sculptors -- New York (State) -- New York Search this
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests.
Collection Citation:
Blanche Stuart Scott Collection, Acc. NASM.XXXX.0062, National Air and Space Museum, Smithsonian Institution.
The 19 scrapbooks in this series are the collection's main source of Macbeth Gallery exhibition catalogs and related news clippings. Although incomplete, the scrapbooks provide fairly comprehensive coverage of the gallery's history and include material on day-to-day events at the gallery as well as important occasions such as the gallery's fortieth, fiftieth and sixtieth anniversaries, news of the art world in general and some photographs. Some of the scrapbooks also contain printed material related to art, exhibitions and events elsewhere. Many of the exhibition catalogs found here are annotated with prices and other notes. Notably missing is the catalog for the 1908 exhibition, The Eight.
See Appendix for a list of Macbeth Gallery exhibitions documented in Series 5: Scrapbooks.
Arrangement:
As some of the dates of the scrapbooks overlap, they were numbered 1-19 for clarity. The scrapbook cover for #3 is housed in Box 120, and the contents are housed in Box 122.
Appendix: Macbeth Gallery Exhibitions Documented in Scrapbooks:
This chronological list of Macbeth Gallery exhibitions is extensive, but incomplete. While an attempt has been made to establish the accuracy of the information provided here, dates and titles of exhibitions are not guaranteed to be accurate. Most of the exhibitions listed here are documented in the scrapbooks through exhibition catalogs and/or invitations, lists of artwork and news clippings. The list is annotated with AAA microfilm reel and frame numbers to assist researchers in locating material on specific exhibitions.
Scrapbook 1, 1892-1901
Dec. 7-21, 1892 -- Water Colors by American Artists (NMc1: 273-275)
Jan.23-Feb.11, 1893 -- Landscapes in Oil (NMc1: 276-277)
Feb. 27-Mar. 18, 1893 -- Landscapes in Oil by William Keith (NMc1: 278-279)
Mar. 20-Apr. 8, 1893 -- Watercolors by Dutch Artists (NMc1: 281-282)
Nov. 8-29, 1893 -- Second Annual Exhibition of Watercolors by American Artists (NMc1: 283-285)
Dec. 2-16, 1893 -- Drawings in Watercolors and in Black and White by C. R. Grant and Wilson De Meza (NMc1: 287-290)
Jan. 20-Feb. 3, 1894 -- Pictures and Sketches by Anton Mauve (NMc1: 291-292, 311-313)
Feb. 6-17, 1894 -- Paintings by Henry W. Ranger (NMc1: 295-296)
Jan. 21-Feb. 2, 1901 -- Pictures and Portraits by Wilbur A. Reaser (NMc1: 385)
Feb. 25-Mar. 9, 1901 -- Frederick Ballard Williams (NMc1: 394-395)
Feb. 4-16, 1901 -- Landscapes by Alexander H. Wyant and George Inness (NMc1: 390-391)
May 9-31, 1901 -- Paintings by Arthur B. Davies (NMc1: 400-402)
Nov. 29-Dec. 14, 1901 -- Watercolors, Color Prints from Wood Blocks and Etchings Printed in Color by Helen Hyde (NMc1: 405-406)
Scrapbook 2, 1893-1898
Primarily news clippings.
Scrapbook 3, 1902-1910
Feb. 3-15, 1902 -- Private Collection of American Pictures (NMc1: 2-5)
Mar. 17-29, 1902 -- Some Phases of London When the Lamps Are Lighted, Done in Pastel by Fernand Lungren (NMc1: 10-13)
Mar. 31-Apr. 5, 1902 -- Group of Pictures by Sidney Starr (NMc1: 13)
Apr. 1-12, 1902 -- Pictures by Robert Henri (NMc1: 15-16)
Apr. 14-26, 1902 -- Drawings by Jane Erin Emmet (NMc1: 21-22)
Apr. 28-May 11, 1902 -- Landscapes by W. L. Lathrop (NMc1: 20)
Jan 19-31, 1903 -- Drawings and Sketches by Homer D. Martin, 1836-1897 (NMc1: 27)
Jan. 27-Feb. 11, 1905 -- Pictures by William Sartain (NMc1: 37-39)
Feb. 23-Mar. 8, 1905 -- Paintings by Arthur B. Davies (NMc1: 62-64)
May 1-6, 1905 -- Oil Paintings by American Artists from the Macbeth Gallery (at the Galleries of George D. Brodhead, Rochester, NY) (NMc1: 69-72)
Jan 29-Feb. 10, 1906 -- Abbot H. Thayer and Gladys Thayer (NMc1: 77-78)
Feb. 19-Mar. 3, 1906 -- Pictures by Charles H. Davis (NMc1: 79-80)
Mar. 10-24, 1906 -- Stephen Parrish (NMc1: 81-82)
Nov. 9-24, 1906 -- A Group of American Paintings (NMc1: 91-92)
Jan. 11-26, 1907 -- Paintings by William Sartain (NMc1: 100-101)
Feb. 1-16, 1907 -- Paintings by Paul Dougherty (NMc1: 105-106)
Feb. 23-Mar. 9, 1907 -- Paintings by Charles H. Davis (NMc1: 107-108)
Mar. 11-23, 1907 -- Portraits by Ellen Emmet (NMc1: 112-113)
Mar. 28-Apr. 3, 1907 -- Paintings by William Keith (NMc1: 115-117)
Nov. 11-23, 1907 -- Paintings by Augustus Vincent Tack (NMc1: 124-125)
Nov. 27-Dec. 12, 1907 -- Paintings by John La Farge (NMc1: 127-131)
Jan. 6-18, 1908 -- Paintings by Jerome Myers (NMc1: 133-134)
Jan. 20-Feb. 1, 1908 -- Paintings by Paul Dougherty (NMc1: 137-138)
Feb. 3-15, 1908 -- Exhibition of Paintings by Arthur B. Davies, William J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice B. Prendergast, Everett Shinn, John Sloan (NMc:142-143 Catalog missing from scrapbook)
Feb. 19-Mar. 7. 1908 -- Forty Selected Paintings by Living American Artists (NMc1: 147-149)
Mar. 11-24, 1908 -- Paintings by a Group of American Artists (Deceased), Copley to Whistler (NMc1: 151-152)
1908 -- Kwaunon Meditating on Life by John La Farge (NMc1: 155)
Nov. 10-25, 1908 -- Paintings by Howard Pyle (NMc1: 158-159)
Nov. 27-Dec. 10, 1908 -- Paintings by Charles Melville Dewey (NMc1: 161-162)
Dec. 15-31, 1908 -- Bronzes by a Group of American Artists (NMc1: 165-166)
Jan. 7-21, 1909 -- Forty Selected Paintings by Living American Artists (NMc1: 168-169)
Jan. 22-Feb. 4, 1909 -- Paintings by Henry W. Ranger (NMc1: 171-172)
Feb. 5-18, 1909 -- Paintings by Paul Dougherty (NMc1: 176
Feb. 19-Mar. 4, 1909 -- Arthur B. Davies (NMc1: 178)
Mar. 5-Mar. 18, 1909 -- Paintings by Charles H. Davis, N.A. (NMc1: 183-184)
Mar. 19-Apr. 1, 1909 -- A Group of Figure Subjects by Blendon Campbell, Charles W. Hawthorne, Robert Henri, George Luks, Kenneth Miller (NMc1: 186-187)
Apr. 2-15, 1909 -- Paintings by Louis Loeb (NMc1: 188-189)
Apr. 16-29, 1909 -- Paintings by a Group of Boston Artists (NMc1: 191-192)
May 10-22, 1909 -- Paintings by American Artists from the Macbeth Galleries, New York [at Findlay Art Co., Kansas City, MO] (NMc1: 195-197)
Nov. 18-Dec. 4, 1909 -- Paintings by Albert P. Lucas (NMc1: 203-205)
Dec. 7-24, 1909 -- Watercolors and Pastels by American Artists (NMc1: 207-210)
Dec 7-24, 1909 -- Second Annual Exhibition of Bronzes by American Sculptors (NMc1: 211-212)
Jan. 6-19, 1910 -- Sixteen Paintings of the Cornish Coast by Paul Dougherty (NMc1: 213-215)
Jan. 20-Feb. 2, 1910 -- Paintings by Mary Curtis Richardson of San Francisco (NMc1: 218-220)
Jan. 20-Feb. 2, 1910 -- First Exhibition of Paintings by Ben Foster (NMc1: 216-218)
Feb 3-16, 1910 -- Landscapes and Figures by Frederick Ballard Williams (NMc1: 227-229)
Feb. 3-16, 1910 -- Spanish Paintings by F. Luis Mora (NMc1: 225-227)
Feb. 17-Mar. 2, 1910 -- The Fur Jacket by J. McNeill Whistler (NMc1: 231-232)
Feb. 17-Mar. 2, 1910 -- Paintings by William Sartain (NMc1: 233-235)
Mar. 3-16, 1910 -- Fourteen Landscapes by Charles H. Davis (NMc1: 237-239)
Mar. 3-16, 1910 -- Recent Portraits by Cecilia Beaux (NMc1: 239-240)
Mar. 17-30, 1910 -- Paintings by Hermann Dudley Murphy (NMc1: 244-246)
Mar. 17-30, 1910 -- Figure Paintings by Charles W. Hawthorne (NMc1: 242-244)
Mar. 31-Apr. 13, 1910 -- Paintings of Baily's Island by Frederick J. Waugh (NMc1: 249-251)
Mar. 31-Apr. 13, 1910 -- Nineteen Landscapes by Chaucey F. Ryder (NMc1: 247-249)
Apr. 14-27, 1910 -- George B. Luks (NMc1: 253-255)
Apr. 30-May 14, 1910 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc1: 259-262)
Scrapbook 4, 1907-1913
Primarily news clippings.
Scrapbook 5, 1910-1915
Nov. 3-16, 1910 -- Recent Paintings by Charles W. Hawthorne (NMc2: 1-2)
Nov. 17-30, 1910 -- The Navajo Country in Watercolors by Frederick J. McComas (NMc2: 4-6)
Dec. 6-24, 1910 -- Watercolors, Pastels and Small Bronzes (NMc2: 7-14)
Jan. 5-18, 1911 -- Portraits by Ellen Emmet (NMc2: 15-16)
Jan. 19-Feb. 1, 1911 -- Paintings by Henry B. Snell (NMc2: 17-24)
Feb. 2-22, 1911 -- A Group of Thirty Selected Paintings (NMc2: 25-28)
Feb. 23-Mar. 8, 1911 -- A Group of Forty Selected Paintings (NMc2: 29-32)
Mar. 9-22, 1911 -- Paintings by Charles H. Davis, Paul Dougherty, Daniel Garber, William Sartain, F. Ballard Williams (NMc2: 33-35)
Mar. 23-Apr. 5, 1911 -- A Group of Paintings by Ben Foster, Albert L. Groll, Leonard Ochtman, Chauncey F. Ryder, Gardner Symons (NMc2: 36-38)
Apr. 8-22, 1911 -- The Woman's Art Club of New York, Exhibition of Works in Oil and Sculpture (NMc2: 39-42)
Nov. 16-29, 1911 -- Landscapes, Marines and Wood Interiors by Robert Henri (NMc2: 45-48)
Dec. 6-30, 1911 -- Small Bronzes by American Sculptors (NMc2: 49-52)
Dec. 2-15, 1913 -- Second Exhibition by the Society of Men Who Paint the Far West (NMc2: 172-176)
Jan. 1914 -- Drawings of Game Birds by Frank W. Benson (NMc2: 179-180)
Jan. 6-19, 1914 -- Paintings by Emil Carlsen, Paul Dougherty, Frederick C. Frieseke, Childe Hassam, Willard L. Metcalf, Kenneth H. Miller, J. Alden Weir (NMc2: 179, 181-183)
Feb. 10-Mar. 2, 1925 -- Water Colors of Egypt and Jerusalem by Taber Sears (NMc3: 126, 129-130)
Feb. 10-Mar.2, 1925 -- The New England Year in Paintings by Charles H. Davis (NMc3: 126-128)
Mar. 3-23, 1925 -- Paintings by E. W. Redfield (NMc3: 131-133)
Mar. 24-Apr. 13, 1925 -- Paintings by Daniel Garber (NMc3: 135-138)
Apr. 14-May 4, 1925 -- Recent Paintings by Robert Henri (NMc3: 140-143)
Apr. 14-May 4, 1925 -- C. W. Hawthorne: Watercolors of Bermuda (NMc3: 139)
Oct. 13-26, 1925 -- Collection of American Masters Loaned for Exhibition (NMc3: 152-154)
Oct. 27-Nov. 16, 1925 -- Memorial Exhibition of Paintings by the Late William Sartain (NMc3: 155-158)
Nov. 7-23, 1925 -- Paintings by Contemporary American Artists Loaned by the Macbeth Galleries, New York, Engaged by the Muncie Art Students' League, Muncie, Indiana (NMc3: 147-148)
Nov. 17-Dec. 7, 1925 -- Paintings by DeWitt and Douglass Parshall (NMc3: 159-162)
Dec. 4-31, 1925 -- Easel Paintings by American Artists, Loaned by Macbeth Galleries to the Springfield Art Association (NMc3: 205, 207)
Dec. 8-Jan. 4, 1926 -- Watercolors by Distinguished American Artists (NMc3: 163-166)
Jan. 5-25, 1926 -- Recent American Portraits (NMc3: 168, 172-173)
Jan. 5-18, 1926 -- American Society of Miniature Painters, 27th Annual Exhibition (NMc3: 168-171)
Jan. 26-Feb. 15, 1926 -- Paintings by Jonas Lie (NMc3: 176-179)
Jan. 26-Feb. 15, 1926 -- First Exhibition of Paintings by John Huffington (NMc3: 176, 180-181)
Feb. 7-Mar. 17, 1926 -- Exhibition of Oil Paintings by American Artists Lent by the Macbeth Galleries to the Utica Public Library Art Gallery (NMc3: 205-206)
Feb. 16-Mar. 8, 1926 -- New Paintings by Charles W. Hawthorne (NMc3: 186-189)
Feb. 16-Mar. 8, 1926 -- Chauncey F. Ryder (NMc3: 184)
Jan. 18-31, 1927 -- Watercolors by John Lavalle of Boston (NMc3: 253-255)
Jan. 22-Feb. 7, 1927 -- Crapo Gallery Opening Exhibition: Thirty Paintings by Thirty Artists assembled by Macbeth Gallery at Swain School, New Bedford, Mass. (NMc3: 245-249)
Feb. 1-14, 1927 -- Recent Paintings by Frank W. Benson (NMc3: 259-262)
Feb. 2-14, 1927 -- American Society of Miniature Painters, 28th Annual Exhibition (NMc3: 253, 256-258)
Feb. 8-26, 1927 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc. at Anderson Galleries (Macbeth Gallery one of nine participants (NMc3: 263, 265-271)
Feb. 15-28, 1927 -- New Paintings by Chauncey F. Ryder (NMc3: 278-281)
Mar. 1-14, 1927 -- Watercolors by Aiden L. Ripley (NMc3: 282, 286)
Mar. 1-14, 1927 -- Paintings by a Group of Members of the Guild of Boston Artists (NMc3: 282-285)
Mar. 15-28, 1927 -- Paintings by Malcolm Parcell (NMc3: 287-290)
Mar. 15-28, 1927 -- Recent Pastels of Chartres by Carl Schmidt (NMc3: 287)
Mar. 29-Apr. 18, 1927 -- Thirty-fifty Anniversary Exhibition, Retrospect and Prospective (NMc3: 291-294)
Apr. 19-May 9, 1927 -- Frank A. Brown, Watercolors (NMc3: 296, 302-303)
Aug. 22-Sept. 5, 1927 -- American Art Exhibition arranged for Eastern Long Island by the Macbeth Gallery at Southampton, NY (NMc3: 297-301)
Oct. 18-29, 1927 -- American Art Exhibition, Art League of Fort Worth, Assembeled by the Macbeth Gallery (NMc3: 304, 306-311)
Oct. 18-31, 1927 -- Etchings by Walter Raymond Duff (NMc3: 313-315)
Oct. 18-31, 1927 -- Paintings by Max Bohm (NMc3: 313-315)
Nov. 1-14, 1927 -- Yankee Whalers by Clifford W. Ashley (NMc3: 316-317)
Scrapbook 11, November 1927-June 1930
Nov. 15-28, 1927 -- Paintings of Mallorca by Bernhard Gutmann (NMc3: 319-320)
Nov. 15-28, 1927 -- Paintings of Flowers by Carle J. Blenner (NMc3: 319, 321)
Nov. 29-Dec. 12, 1927 -- The Bathers , Paintings by William S. Horton (NMc3: 322-325)
Nov. 29-Dec. 12, 1927 -- Sidewalks of New York, Chalk Drawings by H. Devitt Welsh (NMc3: 326-327)
Dec. 13-31, 1927 -- Joint Exhibition of Paintings by Daniel Garber and Stanley Woodward (NMc3: 328)
Jan. 3-23, 1928 -- Recent Paintings by Jonas Lie (NMc3: 329-330)
Jan. 24-Feb. 13, 1928 -- Watercolors by John Lavalle (NMc3: 332-334)
Jan. 24-Feb. 13, 1928 -- Walter Ufer: Pictures from Taos (NMc3: 332, 334)
Jan. 24-Feb. 6, 1928 -- American Society of Miniature Painters, 29th Annual Exhibition (NMc3: 337-340)
Feb. 7-21, 1928 -- Small Pictures of Mountain and Sea by Jay Connaway (NMc3: 342)
Feb. 14-27, 1928 -- The Canadian Rockies by Belmore Brown (NMc3: 342-343)
Feb. 14-27, 1928 -- Sculpture by Gleb Derujinsky (NMc3: 342-344)
Feb. 21-Mar. 5, 1928 -- Watercolors of Venice, Spain and Brittany by Frank A. Brown (NMc3: 351-356)
Feb. 21-Mar. 10, 1928 -- Works by American Artists Selected by the Associated Dealers in American Paintings, Inc., at Anderson Galleries; Macbeth Gallery one of sixteen participants (NMc3: 346-352)
Feb. 25-Mar. 17, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at Grand Rapids Art Gallery (NMc3: 385-387)
Feb. 28-Mar. 12, 1928 -- Paintings by Frank L. Schenk, 1856-1927 (NMc3: 357-358)
Mar. 20-Apr. 2, 1928 -- Lanscapes of Italy by A. Sheldon Pennoyer (NMc3: 366, 368)
Mar. 20-Apr. 9, 1928 -- Recent Landscapes, Switzerland and Other Subjects by Carl Lawless (NMc3: 366-367)
Apr. 2-15, 1928 -- Water Colors by Earl Winslow (NMc3: 355)
Apr. 10-30, 1928 -- St. Ives by Hayley Lever (NMc3: 369)
Apr. 29-May 20, 1928 -- The Macbeth-Milch Circuit Exhibition of Contemporary American Paintings at the University of Wyoming (NMc3: 385-386)
Spring, 1928 -- American Painting for Home Decoration (NMc3: 370-377)
Oct. 16-29, 1928 -- The Canadian Rockies in Watercolors by J. Olaf Olson (NMc3: 389-392)
Nov. 7-24, 1928 -- Etchings by Sears Gallagher (NMc3: 393)
Nov. 13-26, 1928 -- Sand Dunes and Flowers by Frederick Lowell (NMc3: 393-394)
Nov. 26-Dec. 17, 1928 -- Etchings by Carlton T. Chapman (NMc3: 395)
Nov. 27-Dec. 10, 1928 -- Portraits by Ernest L. Ipsen (NMc3: 396-397)
Dec. 4-31, 1928 -- Etchings by Margery A. Ryerson (NMc3: 395)
Dec. 11-24, 1928 -- Landscapes in Watercolor and Gouache by H. Anthony Dyer and Character Studies in Watercolor and Pastel by Nancy Dyer (NMc3: 398-400)
Jan. 2-14, 1929 -- Figures and Landscapes by the Late J. Alden Weir, 1852-1929 (NMc3: 401-402)
Jan. 15-28, 1929 -- Paintings by H. Dudley Murphy; Watercolors by Nellie Littlehale Murphy (NMc3: 404-405)
Jan. 15-28, 1929 -- Portraits by William James (NMc3: 406-407)
Feb. 4-18, 1929 -- Twenty-five Etchings by Harold Denison (NMc3: 410, 416-417)
Feb. 5-18, 1929 -- Paintings by Emil Carlsen and Dines Carlsen (NMc3: 408-409)
Mar. 5-18, 1929 -- Marine Paintings by Stanley W. Woodward (NMc3: 419-423)
Mar. 19-Apr. 1, 1929 -- Watercolors by Frederick C. Frieseke (NMc3: 424-425)
Mar. 19-Apr. 1, 1929 -- Pastels of Louisiana by Will H. Stevens (NMc3: 424)
Apr. 1929 -- Paintings by Childe Hassam (NMc3: 433-438)
Apr. 2-15, 1929 -- Paintings by Arthur Meltzer (NMc3: 431)
Apr. 2-15, 1929 -- Watercolors by Earle B. Winslow (NMc3: 431)
June, 1929 -- Old Mill Afternoon by Childe Hassam, Ainslie Galleries, Inc., Detroit in collaboration with Macbeth Gallery (NMc3: 465-467)
Oct. 1-14, 1929 -- Portraits in Oil and Pastel by Paul Swan (NMc3: 472-473)
Oct. 15-28, 1929 -- Exhibitions from the Summer Colonies: No. 1, Lyme (NMc3: 476-477)
Oct. 19-29, 1929 -- Milch-Macbeth Exhibition of Prints and Paintings by American Artists at the High Museum under the auspices of the Atlanta Art Association (NMc3: 462)
Oct. 20-Nov. 11, 1929 -- Memorial Exhibition of Paintings by John Huffington (NMc3: 476-479)
Nov. 12-25, 1929 -- Exhibition from the Summer colonies: No. 2, Selections from the North Shore Arts Association of Gloucester (NMc3: 480-481)
Nov. 26-Dec. 3, 1929 -- Recent Landscapes by Charles H. Davis (NMc3: 482-483)
Dec. 10-Dec. 23, 1929 -- Watercolors by J. Olaf Olson (NMc3: 484-486)
Dec. 24-Jan. 6, 1930 -- Exhibitions from the Summer Colonies: No. 3, Mystic (NMc3: 487-488)
Jan. 7-20, 1930 -- Paintings of Wyoming Days and Nights by Ogden N. Pleissner (NMc3: 490, 492)
Jan. 21-Feb. 3, 1930 -- Landscapes by Aldro T. Hibbard (NMc3: 490-491)
Feb. 8-21, 1938 -- Vermont in Watercolors by Stanford Stevens (NMc4: 541-542)
Feb. 8-21, 1938 -- Modern American Interior: Prizewinning Design and Selected Drawings from a Competition Sponsored by James H. Blauvet and Associates, Interior Designers (NMc4: 543)
Feb. 23-Mar. 7, 1938 -- Herbert Dickens Ryman (NMc4: 546)
Mar. 1-14, 1938 -- Paintings and Watercolors by Anne Goldthwaite (NMc4: 546-547)
Mar. 8-21, 1938 -- Recent Watercolors of Woodstock, Charleston, New England by John W. Taylor (NMc4: 548-549)
Mar. 22-Apr. 11, 1938 -- Jon Corbino (NMc4: 554-561)
Apr. 12-25, 1938 -- Paintings by Ohio Artists (NMc4: 580-571)
Apr. 26-May 9, 1938 -- Paintings by Furman Joseph Finck (NMc4: 572-573)
May-June 1938 -- Winslow Homer: Watercolors and Early Oils from the Estate of Mrs. Charles S. Homer and Other Sources (NMc4: 574-579)
Oct. 4-28, 1938 -- Opening Exhibition (NMc4: 581)
Nov. 1-23, 1938 -- Dale Nichols, Watercolors and Tempera of Alaskan Subjects (NMc4: 582-583)
Nov. 29-Dec. 19, 1938 -- Sea Island Country Watercolors by Horace Day (NMc4: 584)
Jan. 10-30, 1939 -- Herbert Meyer (NMc4: 588-589)
Feb. 7-27, 1939 -- American Watercolors Past and Present (NMc4: 592-597
Mar. 7-Apr. 3, 1939 -- Monhegan by Jay Connaway (NMc4: 602-603)
Apr. 5-24, 1919 -- Oils and Watercolors by Ogden M. Pleissner (NMc4: 606-607)
May 2-22, 1939 -- Paintings by Francis Chapin, Antonio P. Matino, and Moses Soyer and Drawings by Jon Corbino (NMc4: 609-611)
Fragile original scrapbooks are closed to researchers. For more information, please contact Reference Services.
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:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Getty Grant Program. Digitization of the scrapbooks was supported by a grant from the Smithsonian Institution Women's Committee. Correspondence, financial and shipping records, inventory records, and printed material were digitized with funding provided by the Mr. and Mrs. Raymond J. Horowitz Foundation for the Arts, the Terra Foundation for American Art and The Walton Family Foundation.
The collection is open for unrestricted research. Use requires an appointment.
Collection Rights:
The Joy McLean papers are the physical property of the Anacostia Community Museum. Literary and copyright belong to the author/creator or their legal heirs and assigns. Rights to work produced during the normal course of Museum business resides with the Anacostia Community Museum. For further information, and to obtain permission to publish or reproduce, contact the Museum Archives.
Collection Citation:
The Joy McLean Bosfield papers, Anacostia Community Museum, Smithsonian Institution, gift of Joy McLean Bosfield.
Early Birds of Aviation (Organization). Search this
Wiseman-Peters (Fred Wiseman and J. W. Peters) (Aircraft manufacturer) Search this
Extent:
0.59 Cubic feet (1 flatbox)
Type:
Collection descriptions
Archival materials
Photographs
Tickets
Correspondence
Clippings
Date:
1909-1968
bulk [ca. 1910s, 1950s]
Summary:
Fred Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan. On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. After the 1911 season, Wiseman gave up flying.
This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.
Scope and Contents:
This collection consists of a large scrapbook. Inside the scrapbook are newspaper clippings, correspondence, 1st Day Covers, race tickets, and photographs chronicling both Wiseman's automobile and aviation careers.
Note: The digital images in this finding aid were repurposed from scans made by an outside contractor for a commercial product and may show irregular cropping and orientation in addition to color variations resulting from damage to and deterioration of the original objects.
Arrangement:
Materials are in the order the donor attached them to the scrapbook. Correspondence is often located within the envelope that is attached to the scrapbook. Some materials are loose and have been left in the arrangement in which they were found, unless a portion of a newspaper article could be matched to its other parts.
Biographical / Historical:
Fred Wiseman (1875-1961) was born in Santa Rosa, California, and after attending local schools he engaged in both the bicycle and automotive businesses. Wiseman won considerable fame racing Stoddard-Dayton cars on the West Coast as well as in the Chicago area. He became interested in aviation after attending the Wright brothers' homecoming celebration in 1909 and the first Los Angeles aviation meet at Dominguez Field in 1910.
After these two events, Wiseman was convinced he wanted to learn to fly and so he returned to his home in Santa Rosa and persuaded Ben Noonan to put up $10,000 to build a plane. Wiseman, along with J. W. Peters and D.C. Prentiss, built a biplane named the Wiseman-Peters. During July 1910, both Peters and Wiseman flew the Wiseman-Peters and the following year Wiseman entered the 1911 Aviation Meet at Selfridge Field, Michigan.
On February 17, 1911, Wiseman made the first airplane-carried mail flight officially sanctioned by any local U.S. post office and made available to the public when he carried mail, a bundle of newspapers and a sack of groceries from Petaluma, CA, to Santa Rosa, CA. (The first air mail flight sanctioned by the U.S. Post Office in Washington, D.C., took place on September 23, 1911, when Earle Ovington carried mail from Garden City, Long Island, to Mineola; and the first continuously scheduled U.S. air mail service began on May 15, 1918, with routes between Washington, Philadelphia, and New York.)
During 1911, Wiseman had an active season of exhibition work, including flying for one week at the California State Fair. However, after this season Wiseman gave up flying because he thought there was no future in it. He sold his plane and returned to the automobile business. He later worked for Standard Oil Company of California. Wiseman was a member of the Early Birds of Aviation, an organization of pilots who flew solo in an aircraft prior to December 17, 1916.
Weldon Cooke, another pioneer aviator from California, bought and modified the Wiseman-Peters aircraft, renaming it the Wiseman-Cooke. Cooke flew the Wiseman-Cooke for exhibition and air mail flights. The Wiseman-Cooke aircraft is currently part of the Smithsonian Institution's collections.
Provenance:
No donor information, Gift?, unknown, XXXX-0618, unknown
Restrictions:
No restrictions on access
Rights:
Material is subject to Smithsonian Terms of Use. Should you wish to use NASM material in any medium, please submit an Application for Permission to Reproduce NASM Material, available at Permissions Requests
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.
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:
Charles W. White papers, 1933-1987. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Henry Luce Foundation. Funding for the digitization was provided by the Roy Lichtenstein Foundation and the Alice L. Walton Foundation.
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:
Dorothy C. Miller papers, 1853-2013, bulk 1920-1996. Archives of American Art, Smithsonian Institution.
Sponsor:
Funding for the processing of this collection was provided by the Terra Foundation for American Art
