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James McNeill Whistler collection, 1863-1906

Creator:
Whistler, James McNeill, 1834-1903  Search this
Subject:
Anderson, Christine  Search this
Boehm, Joseph Edgar, Sir  Search this
Beck, J. W.  Search this
Burnett, Frances Hodgson  Search this
Bronson, Katharine de Kay  Search this
Burnett, Swan M. (Swan Moses)  Search this
Lee, George Washington Custis  Search this
Ford, Sheridan  Search this
Leighton of Stretton, Frederic Leighton, Baron  Search this
Lee, Robert E. (Robert Edward)  Search this
Lucas, George A.  Search this
Pollitt, Herbert Charles Jerome  Search this
Wilde, Oscar  Search this
Company of the Butterfly  Search this
World's Columbian Exposition (1893 : Chicago, Ill.)  Search this
Royal Academy of Arts (Great Britain)  Search this
Salon (Exhibition : Paris, France)  Search this
Salon des refusés  Search this
Type:
Postcards
Pamphlets
Citation:
James McNeill Whistler collection, 1863-1906. Archives of American Art, Smithsonian Institution.
Topic:
Painting, American  Search this
Etchers  Search this
Theme:
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9349
(DSI-AAA_SIRISBib)211545
AAA_collcode_whisjame2
Theme:
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211545
Online Media:

Beatrice S. Levy papers

Creator:
Levy, Beatrice S. (Beatrice Sophia), 1892-1974  Search this
Names:
Chicago Society of Artists  Search this
Chicago Society of Etchers  Search this
Extent:
4.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1890-1994
Summary:
The Beatrice S. Levy papers measure 4.2 linear feet and date from 1890-1994. The collection comprises biographical material that includes family and personal letters, awards and certificates, donation records, and biographical statements; 45 diaries and notes detailing Levy's daily life in and out of the studio; professional files consists of correspondence, business records, and files for the Chicago Society of Artists and Chicago Society of Etchers; printed materials include clippings relating to Art News and Levy's work, exhibition catalogs and announcements; photographs of Levy and friends, family and travel in 4 albums, as well as photographs used as source material; and artwork including portraits of friends, prints and sketches, and sketchbooks.
Scope and Contents:
The Beatrice S. Levy papers measure 4.2 linear feet and date from 1890-1994. The collection comprises biographical material that includes family and personal letters, awards and certificates, donation records, and biographical statements; 45 diaries and notes detailing Levy's daily life in and out of the studio; professional files consists of correspondence, business records, and files for the Chicago Society of Artists and Chicago Society of Etchers; printed materials include clippings relating to Art News and Levy's work, exhibition catalogs and announcements; photographs of Levy and friends, family and travel in 4 albums, as well as photographs used as source material; and artwork including portraits of friends, prints and sketches, and sketchbooks.
Arrangement:
The collection is arranged as 6 series.

Series 1: Biographical Material, 1910s-circa 1974 (0.4 linear feet; Box 1, OV 7)

Series 2: Diaries and Notes, circa 1906-1972 (0.6 linear feet; Box 1)

Series 3: Professional Files, 1910s-1994 (0.6 linear feet; Boxes 1-2)

Series 4: Printed Material, 1890-1985 (0.4 linear feet; Box 2)

Series 5: Photographic Material, 1894-circa 1950s (1.1 linear feet; Boxes 3, 6)

Series 6: Artwork, 1900s-1960s (1.1 linear feet; Boxes 4-6, OVs 8-9)
Biographical / Historical:
Beatrice S. Levy (1892-1974) was an etcher in Chicago, Ill. and La Jolla, Calif. Levy studied at the Art Institute of Chicago under Ralph Clarkson and with Charles W. Hawthorne in Provincetown, Massachusetts. She had a studio in Chicago's 57th Street Art Colony. Her work was exhibited at the Panama-Pacific International Exhibition (1915), the Century of Progress in Chicago (1933-1934), and the New York's World's Fair (1939). Levy was President of the Chicago Society of Artists, Supervisor of the Works Progress Administration Art Project Gallery, and Supervisor of the Easel Painting Division in 1936 for the Federal Art Project. In 1950 she moved to California, where she taught at the La Jolla Museum School of Arts and Crafts (1961-1962) and continued to exhibit her work.
Provenance:
The Beatrice S. Levy papers were donated in 2018 and 2023 by Heather Peck, granddaughter of Dorothy Stratton, a friend of Beatrice Levy. Material microfilmed on reel 4190 (frames 773-1023) was originally part of a larger collection of material given to the University of Louisville (Kentucky) by Samuel Steinfeld, a cousin of Beatrice Levy. The University of Louisville transferred this group of papers to the Art Institute of Chicago, who in turn donated them to the Archives of American Art in 1986. Samuel Steinfeld donated additional material on reel 4190 (frames 1024-1311) in 1986.
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:
Etchers -- Illinois -- Chicago  Search this
Art teachers -- Illinois -- Chicago  Search this
Engravers -- Illinois -- Chicago  Search this
Topic:
Women artists  Search this
Women educators  Search this
Art, Modern -- 20th century -- Illinois -- Chicago  Search this
Art, Modern -- 20th century -- California  Search this
Citation:
Beatrice S. Levy papers, 1890-1994. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.levybeat
See more items in:
Beatrice S. Levy papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9f8abb4e5-348f-43e9-b677-abc37752bfea
EDAN-URL:
ead_collection:sova-aaa-levybeat

Oral history interview with Margaret Elder Philbrick

Interviewee:
Philbrick, Margaret  Search this
Interviewer:
Brown, Robert F.  Search this
Extent:
28 Pages (Transcript)
Type:
Collection descriptions
Archival materials
Pages
Sound recordings
Interviews
Date:
1971 Nov. 2
Scope and Contents:
An interview of Margaret Elder Philbrick conducted 1971 Nov. 2, by Robert F. Brown, for the Archives of American Art. Philbrick speaks of her childhood, the development of her interest in art, her education at the Massachusetts College of Art, her first involvement with etching, serigraphy and colograph printmaking, her theories and use of color and light, her philosophy of work, and her inspirations.
Biographical / Historical:
Margaret Elder Philbrick (1914-1999) was a printmaker and etcher from Westwood, Massachusetts.
General:
Originally recorded on 1 sound tape reel. Reformatted in 2010 as 1 digital wav file. Duration is 58 min.
An unrelated interview of Arthur Polonsky (4/12/72) conducted by R. Brown is also on this tape.
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 others.
Restrictions:
This interview is open for research. Contact Reference Services for more information.
Occupation:
Printmakers -- Massachusetts  Search this
Etchers -- Massachusetts  Search this
Topic:
Prints -- Technique  Search this
Women artists  Search this
Women printmakers  Search this
Genre/Form:
Sound recordings
Interviews
Identifier:
AAA.philbrm71
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9afe360aa-2614-40e8-9ab8-a71738646228
EDAN-URL:
ead_collection:sova-aaa-philbrm71
Online Media:

Chicago Society of Etchers records

Creator:
Chicago Society of Etchers  Search this
Names:
Chicago Society of Etchers  Search this
Botke, Cornelius, 1887-1954  Search this
Dalstrom, Gustaf O. (Gustaf Oscar), 1893-1971  Search this
Fabri, Ralph, 1894-1975  Search this
Jensen, John Paul, 1904-  Search this
Kappel, Philip  Search this
Kloss, Gene, 1903-  Search this
Pescheret, Leon Rene, 1892-1961  Search this
Sykes, Maltby  Search this
Extent:
0.6 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1933-1972
bulk 1940-1959
Scope and Contents:
Primarily correspondence and a scrapbook kept by several of the Society's secretaries including F. L. Thompson and James Swann. Correspondence mostly with members concerning activities, sales, and exhibitions. Several letters inquire about the status of the Society and whether it will continue. The scrapbook, 1937-1972 (bulk 1937-1948), contains exhibition catalogs and announcements, letters, annual bulletins, membership lists, handwritten minutes of Board of Directors' meetings which detail expenses, suggestions for exhibition venues, membership and activities. Added to the scrapbook is the 1972 certificate of dissolution of the Society. A few miscellaneous financial records, printed materials, and price lists complete the collection.
Among the correspondents are: Cornelius Botke, Gustav Dalstrom, Gene Kloss, Philip Kappel, Roi Partridge, Leon R. Pescheret, and Maltby Sykes, as well as local Chicago artists.
Arrangement:
Arranged into series by record type: I. Correspondence II. Scrapbook III. Financial material; chronological thereunder.
Biographical / Historical:
Art society; Chicago, Ill., organized 1910; dissolved 1972.
Provenance:
Donated 1996 by Peter Jensen, son of printmaker John Paul Jensen, the last secretary of the Chicago Society of Etchers, who retained the records of the Society after its dissolution.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Etchers -- Illinois -- Chicago  Search this
Printmakers  Search this
Topic:
Etching -- Illinois -- Chicago  Search this
Etching -- 20th century -- United States  Search this
Etching, American  Search this
Function:
Arts organizations -- Illinois
Identifier:
AAA.chicetch
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw98f02fa45-f510-40d8-9440-53e7f2ef6591
EDAN-URL:
ead_collection:sova-aaa-chicetch

[Photographs of a meeting of the Chicago Society of Etchers]

Creator:
Chicago Society of Etchers  Search this
Extent:
2 Items (photographic prints, b&w)
Type:
Collection descriptions
Archival materials
Date:
1912
Biographical / Historical:
Organized 1910.
Provenance:
Donated 1985 by Jeannot Barr, relationship to the Chicago Society of Etchers is unknown.
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:
Etchers -- Illinois -- Chicago  Search this
Function:
Arts organizations -- Illinois
Identifier:
AAA.chicetcp
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9ae8f05ac-b3c4-4e7f-9e66-1015a0bca899
EDAN-URL:
ead_collection:sova-aaa-chicetcp

Morris Henry Hobbs papers

Creator:
Hobbs, Morris Henry, 1892-1967  Search this
Names:
Bromeliad Society  Search this
Chicago Society of Etchers  Search this
Louisiana Society of Etchers  Search this
New Orleans Art League  Search this
Arms, John Taylor, 1887-1953  Search this
Jacques, Bertha  Search this
Smith, Lyman B.  Search this
Extent:
4.7 Linear feet
Type:
Collection descriptions
Archival materials
Architectural drawings
Prints
Scrapbooks
Diaries
Photographs
Sketchbooks
Sketches
Date:
circa 1901-2014
Summary:
The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.
Scope and Contents:
The papers of etcher Morris Henry Hobbs measure 4.7 linear feet and date from circa 1901-2014. His career as an artist in Chicago and New Orleans is documented through biographical material, correspondence, writings, professional files, printed material, photographs, artwork, and four sketchbooks.

Biographical material includes chronologies, biographical statements, and documentation on his home and studio. Correspondence includes letters to friends and family regarding art, travel, and botany. Of note are letters from the etchers John Taylor Arms and Bertha Jaques and botanist Lyman Smith. Writings consist of Hobbs' diary kept during World War I while serving in the U.S. Army, journal pages documenting his move to New Orleans, and garden notebooks. Professional files include documents relating to Hobbs' memberships and activities in the Bromeliad Society, Chicago Society of Etchers, Louisiana Society of Etchers, New Orleans Art League, and other organizations. Also included are exhibition records, price lists, and sales records.

Printed material includes clippings and exhibition announcements documenting his career as well as published versions of his etchings. Photographs and slides are of Hobbs, family and friends, trips abroad, and his properties in New Orleans and Mandeville, Louisiana. Artwork includes architectural renderings, sketches of Chicago, France, and New Orleans, and an annotated scrapbook containing original etchings. Four sketchbooks include figure drawings and landscapes in pencil and ink.
Arrangement:
The collection is arranged as 8 series.

Missing Title

Series 1: Biographical Material, 1918-2014 (0.2 linear feet; Box 1)

Series 2: Correspondence, 1921-1993 (0.7 linear feet; Boxes 1 and 5)

Series 3: Writings, 1918-2014 (0.3 linear feet; Boxes 1-2)

Series 4: Professional Files, 1922-2014 (1.0 linear foot; Boxes 2-3)

Series 5: Printed Material, 1929-2014 (0.6 linear feet; Box 3)

Series 6: Photographs, circa 1901-1991 (0.6 linear feet; Boxes 3-4)

Series 7: Artwork, circa 1919-1950s (0.3 linear feet; Boxes 4-5)

Series 8: Sketchbooks, 1930s-1950s (0.2 linear feet; Box 4)
Biographical / Historical:
Morris Henry Hobbs (1892-1967) was an etcher in Chicago and New Orleans. Hobbs was born in Rockford, Illinois, and raised in Chicago. As a teenager he took classes at the Art Institute of Chicago and at the age of 17 was hired as a draftsman at an architectural firm. From 1918-1919, he served in France with the Allied Expeditionary Force. While there he contracted influenza which resulted in the loss of his hearing. After the war he lived in Toledo, Ohio, with his wife and two daughters and worked at an architectural firm. He also learned printmaking techniques from etcher J. Ernest Dean and began exhibiting his work. In 1927, he returned to Chicago with his family and in 1930 became director of the Chicago Society of Etchers. During his career he was active in many arts and printmaking organizations.

In 1938, Hobbs traveled to New Orleans for an extended visit, opened a studio space, and began a ten-year project of etching French Quarter scenes. A year later he moved to New Orleans permanently and became the first president of the Louisiana Society of Etchers. In 1942, he married Alice "Judy" Seddon. In 1948, he was hired as a designer for the architectural firm Favrot, Reed, Mathes and Bergman, and was employed there until his death. Also at this time, he and his wife establish a country home in Mandeville, Louisiana, where he built a greenhouse and cultivated tropical bromeliads. They kept an apartment in the French Quarter as a weekday residence.

In 1960, Hobbs began a series of watercolors depicting bromeliads and in the subsequent years traveled to Costa Rica, Guatemala, and Trinidad to collect specimens for a potential book project. He died in 1967 at the age of 75 and that year the Reinike Gallery held a retrospective of his work. His wife Alice Seddon Hobbs died in 1993 at the age of 95.
Provenance:
Donated in 2014 by Reed Isbell-Hobbs, widow of Morris Henry Hobbs' son William Hobbs.
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.
Occupation:
Etchers -- Illinois -- Chicago  Search this
Etchers -- Louisiana -- New Orleans  Search this
Topic:
Gardening  Search this
World War, 1914-1918  Search this
Genre/Form:
Architectural drawings
Prints
Scrapbooks
Diaries
Photographs
Sketchbooks
Sketches
Citation:
Morris Henry Hobbs papers, circa 1901-2014. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.hobbmorr
See more items in:
Morris Henry Hobbs papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9de90464b-25e1-4b52-880a-48b63a3caf5a
EDAN-URL:
ead_collection:sova-aaa-hobbmorr
Online Media:

Karl Oberteuffer papers

Creator:
Oberteuffer, Karl A. (Karl Amiard), 1908-1958  Search this
Names:
United States. Department of the Treasury. Section of Fine Arts  Search this
Extent:
0.2 Linear feet ((57 items))
Type:
Collection descriptions
Archival materials
Date:
1933-1958
Scope and Contents:
Letters, including many from officials of the Treasury Department's Section of Fine Arts and the Public Building Administration about Oberteuffer's involvement in government art projects. Also included are photographs, clippings, and exhibition catalogs.
Biographical / Historical:
Painter and ethcer; Gloucester, Mass.
Provenance:
Donor unknown.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Contact Reference Services for more information.
Occupation:
Etchers -- Massachusetts -- Gloucester  Search this
Painters -- Massachusetts -- Gloucester  Search this
Identifier:
AAA.oberkarl
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw95099efb2-510f-44d6-9109-b98304e79033
EDAN-URL:
ead_collection:sova-aaa-oberkarl

Charles Henry Turner papers, 1875-circa 1973, bulk circa 1890-circa 1910

Creator:
Turner, Charles Henry, 1848-1908  Search this
Subject:
Lesrel, Adolphe Alexandre  Search this
Murray, Henry  Search this
Carlsen, Emil  Search this
Garrett, Edmund H. (Edmund Henry)  Search this
Type:
Photographs
Drawings
Works of art
Sketchbooks
Sketches
Citation:
Charles Henry Turner papers, 1875-circa 1973, bulk circa 1890-circa 1910. Archives of American Art, Smithsonian Institution.
Topic:
Artists' studios -- Pictorial works  Search this
Painting, Modern -- 19th century  Search this
Etching -- 19th century  Search this
Etchers  Search this
Theme:
Sketches & Sketchbooks  Search this
Lives of artists  Search this
Record number:
(DSI-AAA_CollID)9256
(DSI-AAA_SIRISBib)211451
AAA_collcode_turnchar
Theme:
Sketches & Sketchbooks
Lives of artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211451
Online Media:

Lucile Blanch papers

Creator:
Blanch, Lucile, 1895-1981  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Sketchbooks
Drawings
Date:
circa 1898-1963
Summary:
The papers of painter Lucile Blanch (1895-1981) measure 0.5 linear feet and date from circa 1898 to 1963. The scattered papers comment on Blanch's relationships with her husband Arnold Blanch, her sister Beatrice Lundquist, and fellow artists. Found are biographical material, correspondence, a diary fragment by Beatrice Lundquist, and photographs.
Scope and Contents:
The papers of painter Lucile Blanch (1895-1981) measure 0.5 linear feet and date from circa 1898 to 1963. The scattered papers comment on Blanch's relationships with her husband Arnold Blanch, her sister Beatrice Lundquist, and fellow artists. Found are biographical material, correspondence, a diary fragment by Beatrice Lundquist, and photographs.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Minnesota and New York etcher and painter Lucile Blanch (1895-1981) helped to establish the Woodstock Art Colony in Woodstock, New York.

Born Lucile Lundquist in rural northern Minnesota, she studied at the Minneapolis School of Art where she met her future husband, Arnold Blanch. They moved to New York City where Lucile studied at the Art Students League. Lundquist was awarded a Guggenheim Fellowship in the mid-1930s and participated in the Works Progress Administration's Federal Art Project, creating several murals for public buildings, before teaching art classes.

Lucile Blanch died in Georgia in 1981 and is buried in Woodstock, New York.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reel 1003 including a sketchbook; 46 drawings, prints and reproductions of Blanch's work; illustrations from W. H. Hudson's Green Mansions; 3 scrapbooks containing clippings, reproductions of her work, exhibition material, photographs, and letters; and miscellaneous printed material. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
Materials on reel 1033 were lent for microfilming in 1975 by Lucile Blanch and the correspondence on frames 297-410 was subsequently donated in 1976 by Blanch. Additional correspondence, photographs and a sketch were donated in 2021 and 2023 by Nancy Lundquist, a relative of Lucile Blanch.
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) -- Woodstock  Search this
Etchers -- New York (State) -- Woodstock  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Scrapbooks  Search this
Genre/Form:
Sketchbooks
Drawings
Citation:
Lucile Blanch papers, circa 1898-1963. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.blanluci
See more items in:
Lucile Blanch papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw910b6a556-fde0-47e5-8c65-3356dc867960
EDAN-URL:
ead_collection:sova-aaa-blanluci

Henry Ernest Schnakenberg papers

Creator:
Schnakenberg, H. E. (Henry Ernest), 1892-1970  Search this
Names:
American Academy of Arts and Letters  Search this
Artists Equity Association  Search this
Angel, John, 1881-1960  Search this
Bacon, Peggy, 1895-1987  Search this
Barye, Antoine-Louis, 1796-1875  Search this
Beal, Gifford, 1879-1956  Search this
Bierstadt, Albert, 1830-1902  Search this
Billings, Henry, 1901-  Search this
Bishop, Isabel, 1902-1988  Search this
Blume, Peter, 1906-1992  Search this
Bouché, Louis, 1896-1969  Search this
Brooks, Van Wyck, 1886-1963  Search this
Buller, Audrey, 1902-  Search this
Cadmus, Paul, 1904-1999  Search this
Calder, Alexander, 1898-1976  Search this
Catherwood, Frederick, 1799-1854  Search this
Congdon, William, 1912-1998  Search this
Day, Horace Talmage, 1909-1984  Search this
Dows, Olin, 1904-1981  Search this
Duchamp, Marcel, 1887-1968  Search this
Etting, Emlen, 1905-1993  Search this
Evergood, Philip, 1901-1973  Search this
Faulkner, Barry, 1881-1966  Search this
Fiene, Ernest, 1894-  Search this
Goff, Lloyd Lozés, 1919-  Search this
Guys, Constantin, 1805-1892  Search this
Hardy, Thomas, 1921-  Search this
Harnett, William Michael, 1848-1892  Search this
Hartl, Léon, 1889-  Search this
Homer, Winslow, 1836-1910  Search this
Hoyt, Whitney Ford, 1910-1980  Search this
Inness, George, 1825-1894  Search this
Ivins, William Mills, 1881-1961  Search this
Johnson, Eastman, 1824-1906  Search this
Kirstein, Lincoln, 1907-  Search this
Kroll, Leon, 1884-1974  Search this
Kuniyoshi, Yasuo, 1889-1953  Search this
Laning, Edward, 1906-1981  Search this
Lasker, Joe  Search this
Leighton, Clare, 1899-  Search this
Locke, Charles, 1899-  Search this
Low, Sanford B. D. (Sanford Ballard Dole), 1905-1964  Search this
Lucioni, Luigi, 1900-1988  Search this
Marsh, Reginald, 1898-1954  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Parsons, Betty  Search this
Robus, Hugo, 1885-1964  Search this
Saint-Gaudens, Homer, b. 1880  Search this
Savery, Rockland  Search this
Schmidt, Katherine, 1898-1978  Search this
Shahn, Ben, 1898-1969  Search this
Sheeler, Charles, 1883-1965  Search this
Speicher, Eugene Edward, 1883-1962  Search this
Stamos, Theodoros, 1922-1997  Search this
Tait, Arthur Fitzwilliam, 1819-1905  Search this
Watkins, Franklin Chenault, 1894-1972  Search this
Watson, Forbes, 1880-1960  Search this
Watson, Nan, 1876-1966  Search this
Weisgard, Leonard, 1916-  Search this
Extent:
5.1 Linear feet ((partially microfilmed on 6 reels))
Type:
Collection descriptions
Archival materials
Date:
1905-1969
Scope and Contents:
Photographs, correspondence, appointment books, etchings, a scrapbook, printed materials, writings, and posters.
REEL D113: Primarily letters received from artists, 1940s-50s; background material for Ft.Lee and Amsterdam (N.Y.) murals; and miscellaneous printed material and photographs.
Correspondents include John Angel, Artists Equity, Peggy Bacon, Gifford Beal, Henry Billings, Isabel Bishop, Peter Blume, Louis Bouche, Van Wyck Brooks, Audrey Buller, Paul Cadmus, Alexander Calder, William Congdon, Horace T. Day, Olin Dows, Marcel Duchamp, Emlen P. Etting, Philip Evergood, Barry Faulkner, Ernest Fiene, Leon Hartl, Whitney F. Hoyt, William M. Ivins, Jr., Lincoln E. Kirstein, Leon Kroll, Yasuo Kuniyoshi, Edward Laning, Joseph L. Lasker, Clare Leighton, Charles W. Locke, Sanford B.D. Low, Luigi Lucioni, Reginald Marsh, Kenneth H. Miller, Nat'l Institute of Arts and Letters, Betty Parsons, Hugo Robus, Homer Saint-Gaudens, Katherine Schmidt, Ben Shahn, Charles Sheeler, Eugene Speicher, Theodoros Stamos, Franklin C. Watkins, Forbes and Nan Watson, and Leonard Weisgard.
REEL 847: Photographs, including 67 of Schnakenberg and friends, 1 of a portrait of him by Lloyd Goff, 95 of his oil paintings, 33 of his watercolors, 25 of his works in unidentified media, 29 of works by other artists, and 46 of pre-Columbian art from Central and South America. Among artists whose works are included are Antoine Louis Barye, Albert Bierstadt, Frederick Catherwood, Constantin Guys, Thomas Hardy, William Harnett, Winslow Homer, George Inness, Eastman Johnson, Yasuo Kuniyoshi, Reginald Marsh, Rockland Savery, Theodoros Stamos, and Arthur Fitzwilliam Tait.
REELS 850-853: Biographical information; personal and business correspondence; 17 diaries, mainly about Schnakenberg's travels, 1905-1960; appointment calendars, 1963-1969; 70 etchings by Schnakenberg; a scrapbook containing clippings, catalogs, and other printed material; a book published by G. Alan Chidsey on Schnakenberg; clippings, catalogs, and announcements; papers relating to gifts and acquisitions of works of art; receipts for Schnakenberg paintings from C.W. Kraushaar Galleries; a 650-page typescript for a book "The Background of Painting" by Schnakenberg; and drafts of speeches.
UNMICROFILMED: Six World War I posters designed by Schnakenberg; Christmas cards from artists and other friends; printed material; and a photograph of Lloyd Goff, inscribed to Schnakenberg, in front of one of his paintings, 1939.
Biographical / Historical:
Painter, etcher; Newton, Conn.
Provenance:
Material donated 1963-1971 by Schnakenberg and, after his death, by his estate.
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:
Etchers -- Connecticut -- Newton  Search this
Painters -- Connecticut -- Newton  Search this
Topic:
Art, Prehistoric  Search this
Painting, Modern -- 20th century  Search this
Etching  Search this
Identifier:
AAA.schnh
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9324de55d-c4b7-4bbe-9ff3-d60db8786f14
EDAN-URL:
ead_collection:sova-aaa-schnh

Jerome and Ethel Myers papers

Creator:
Myers, Jerome, 1867-1940  Search this
Names:
Myers, Ethel  Search this
Extent:
4.5 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1900-2010
Scope and Contents:
The papers of artists Jerome and Ethel Myers measure 4.5 linear feet and date from circa 1900 to 2020, with the bulk dating from 1900 to 1960. The collection documents the Myers' careers through biographical material, personal and professional correspondence, writings, interviews, personal business records, gallery and exhibition files, printed material, and extensive photographic material. The later materials include research conducted by the Myers' daughter Virginia Downes, and subsequently by her son Barry Downes, on the artists, as well as correspondence between the estate and various museums and galleries.

Biographical material includes resumes and various biographical writings, as well as memorials and obituaries. Correspondence is mostly with institutions and galleries. Writings include artist statements and texts by Jerome Myers, as well as writings on the Myers' work by others. The collection includes audio recordings of interviews with Ethel Myers and Virginia Myers. Personal business records include inventories of works, both from the artists' studios and from commercial galleries, as well as information regarding sales, donations, and locations of artworks. Printed matter includes exhibition catalogs, press clippings and publications relating to various solo and group exhibitions. The collection includes extensive photographic documentation of both artists' work, much of which is included in scrapbook-style binders, as well as numerous photographs of both artists and their family.
Biographical / Historical:
Jerome Myers (1867-1940) was an American artist and writer associated with the Ashcan School, particularly known for his sympathetic depictions of the urban landscape and its people. He was one of the main organizers of the 1913 Armory Show. Ethel May Klink Myers (1881-1960) was a New York Realist artist and sculptor.
Related Materials:
Additional papers may be found in the Delaware Art Museum.
Separated Materials:
Also in the Archives is material lent for microfilming on reel N68-6 and N68-7 that includes correspondence, biographical data, clippings, a diary, articles, sketches, exhibition catalogs, and a thesis on the sculpture of Ethel Myers by Paula Ann, notes on various artistic subjects, illustrations of paintings and etchings, a manuscript of Myers's, "Artist in Manhattan"; photographs of his work, and a scrapbook. Originals returned to Mrs. Virginia Downes after microfilming.
Provenance:
Donated in 2023 by Helene Taub, the widow of Myers' grandson, Barry Downes. Material on reel N68-6 and N68-7 lent for microfilming 1968 by Mrs. Virginia Downes, daughter of Jerome Myers. Material on reel 75 donor is unknown.
Restrictions:
This collection is temporarily closed to researchers. 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  Search this
Painters  Search this
Topic:
Painting, American  Search this
Identifier:
AAA.myerjero
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw976e926e2-9815-43c2-8ad8-331e725df7ee
EDAN-URL:
ead_collection:sova-aaa-myerjero

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:

Frederick Stuart Church letters and art work

Creator:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
Names:
Klots, Emma Louise  Search this
Mitchell, Laura  Search this
Extent:
0.5 Linear feet
Type:
Collection descriptions
Archival materials
Drawings
Date:
circa 1892-circa 1923
Summary:
The Frederick Stuart Church letters and art work date from circa 1892-circa 1923 and measure 0.5 linear feet. The collection includes illustrated letters, all but three of which are written to Emma Louise Klots, regarding Church's daily activities and his paintings, as well as artwork by Church including etchings and reproductions of Church's paintings, some of which are printed as photogravures.
Scope and Contents:
The Frederick Stuart Church letters and art work date from circa 1892-circa 1923 and measure 0.5 linear feet. The collection includes illustrated letters, all but three of which are written to Emma Louise Klots, regarding Church's daily activities and his paintings, as well as artwork by Church including etchings and reproductions of Church's paintings, some of which are printed as photogravures.
Arrangement:
The collection is arranged as two series:

Series 1: Letters, circa 1892-circa 1923 (Box 1; 0.2 linear feet)

Series 2: Artwork and Reproductions, circa 1892-circa 1923 (Box 2; 0.3 linear feet)
Biographical / Historical:
Frederick Stuart Church (1842-1924) was a painter, etcher, and illustrator in New York, New York, who specialized in animals. Born in Grand Rapids, Michigan, Church studied in New York City at the National Academy of Design and joined the Art Students League. By the 1870s he had a reputation as a gifted illustrator and worked for many magazines including various Harper's publications. He was most well known for his depictions of animals, and his paintings were purchased by leading art collectors of the day, including Charles Lang Freer, Henry Clay Frick, and Potter Palmer. Emma Louise Klots was a patron of Church.
Related Materials:
The Archives of American Art also holds the Frederick Stuart Church collection, circa 1885-1905, a small collection of letters from Church to various people.
Provenance:
The collection was donated to the Archives of American Art in 1990 by Thomas Rothwell, whose mother was Emma Louise Klots's niece.
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:
Illustrators -- New York (State) -- New York  Search this
Etchers -- New York (State) -- New York  Search this
Animal painters -- New York (State) -- New York  Search this
Painters -- New York (State) -- New York  Search this
Topic:
Women art patrons  Search this
Genre/Form:
Drawings
Citation:
Frederick Stuart Church letters and art work, circa 1892-circa 1923. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.churfred
See more items in:
Frederick Stuart Church letters and art work
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw948d67940-915c-412b-8854-358b970d9424
EDAN-URL:
ead_collection:sova-aaa-churfred
Online Media:

Charles Yardley Turner Scrapbook of Letters from Frederick S. Church and John LaFarge

Creator:
Turner, Charles Yardley, 1850-1918  Search this
Names:
Church, Frederick S. (Frederick Stuart), 1842-1924  Search this
La Farge, John, 1835-1910  Search this
Extent:
0.03 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Date:
1894-1913
Summary:
The scrapbook of New York painter and etcher Charles Yardley Turner consists of 3 folders of letters and date from 1894 to 1913. The disbound scrapbook contains 26 illustrated letters to Turner from painter Frederick S. Church, and one letter from John LaFarge.
Scope and Contents:
The scrapbook of New York painter and etcher Charles Yardley Turner consists of 3 folders of letters and date from 1894 to 1913. The disbound scrapbook contains 26 illustrated letters to Turner from painter Frederick S. Church, and one letter from John LaFarge.
Arrangement:
Due to the small size of this collection, the papers are arranged as one series.

Series 1: Charles Yardley Turner Scrapbook of Letters from Frederick S. Church and John LaFarge, 1894-1913 (3 folders; 27 items)
Biographical / Historical:
New York, N.Y. based painter and etcher Charles Yardley Turner (1850-1918) and painter Frederick Stuart Church were close friends and, according to Ruel Pardee Tolman, "were called 'the long and short of it.' Every Christmas morning they planned to have breakfast together."
Provenance:
The Charles Yardley Turner scrapbook of letters from Frederick S. Church and John LaFarge were transferred to the Archives of American Art from the National Museum of American Art Library in 1981. The letters on reel 3480 were originally donated to the National Collection of Fine Arts by Turner's sister, Mrs. A. T. Yardley, on July 17, 1926. Letters on reel D8 are from an unknown donor, possibly one "Whittenberg" in Oct. 1958.
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 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
Painters -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Citation:
Charles Yardley Turner Scrapbook of Letters from Frederick S. Church and John LaFarge, 1894-1913. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.turnchay
See more items in:
Charles Yardley Turner Scrapbook of Letters from Frederick S. Church and John LaFarge
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw944460e9f-f261-42f2-b064-df75b4755e13
EDAN-URL:
ead_collection:sova-aaa-turnchay
Online Media:

Hortense Ferne papers

Creator:
Ferne, Hortense T., 1885-1976  Search this
Names:
Tanenbaum, Moses  Search this
Extent:
0.2 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1840-1965
Summary:
The papers of painter and printmaker Hortense Ferne date from 1840 to 1965 and measure 0.2 linear feet. This small collection consists of letters to Hortense Ferne, her collection of autographs of artists, and exhibition catalogs. Also found are letters to art collector Moses Tanenbaum, Ferne's father.
Scope and Contents:
The papers of painter and printmaker Hortense Ferne date from 1840 to 1965 and measure 0.2 linear feet. This small collection consists of letters to Hortense Ferne, her collection of autographs of artists, and exhibition catalogs. Also found are letters to art collector Moses Tanenbaum, Ferne's father.
Arrangement:
Due to the small size of this collection the papers are arranged as one series.
Biographical / Historical:
Hortense Tanenbaum Ferne (1885–1976) was a painter, etcher, and lithographer in New York City and Philadelphia.

Ferne was the daughter of Moses Tanenbaum, an art collector. She married Herman Fernberger in 1906 and in 1940 changed her name legally to Ferne. Her works are included in the permanent collections of the Smithsonian American Art Museum, Nelson-Atkins Museum of Art, and the Philadelphia Museum of Art.
Separated Materials:
The Archives of American Art also holds microfilm of material lent for microfilming on reels 50-51. Loaned materials were returned to the donor and are not described in the collection container inventory.
Provenance:
The collection was donated in 1971 by Hortense Ferne.
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
Printmakers -- New York (State) -- New York  Search this
Etchers -- New York (State) -- New York  Search this
Lithographers -- New York (State) -- New York  Search this
Topic:
Women artists  Search this
Women printmakers  Search this
Citation:
Hortense Ferne papers, 1840-1965. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.fernhort
See more items in:
Hortense Ferne papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw96d62f9fd-715a-45f8-b616-ed0268d08e8b
EDAN-URL:
ead_collection:sova-aaa-fernhort
Online Media:

Gene Kloss papers

Creator:
Kloss, Gene, 1903-  Search this
Names:
Federal Art Project (N.M.)  Search this
Extent:
0.11 Linear feet
Type:
Collection descriptions
Archival materials
Date:
1932-1956
Summary:
The papers of California and New Mexico painter and etcher, Gene Kloss, provide scattered documentation of Kloss's career through 35 items dating from 1932-1956. Records include letters to Kloss, primarily about exhibitions and purchases of her work; press clippings documenting exhibitions and other activities including lectures delivered by Kloss; a photograph of Kloss and three photographs of her artwork; and ten etchings. The etchings represent a complete set of the artist's prints of the Southwest executed for the Public Works of Art Project from 1933-1934.
Scope and Contents:
The papers of California and New Mexico painter and etcher, Gene Kloss, provide scattered documentation of Kloss's career through 35 items dating from 1932-1956. Records include letters to Kloss, primarily about exhibitions and purchases of her work; press clippings documenting exhibitions and other activities including lectures delivered by Kloss; a photograph of Kloss and three photographs of her artwork; and ten etchings. The etchings represent a complete set of the artist's prints of the Southwest executed for the Public Works of Art Project from 1933-1934.
Arrangement:
Due to the small size of the collection, records are arranged as one series.
Biographical / Historical:
California and New Mexico etcher and painter, Gene Kloss, was known for her depictions of the American Southwest.

Also known as Alice Geneva Glasier, Kloss was born in Oakland, California, and studied at the University of California at Berkeley, the California School of Fine Arts in San Francisco, and the College of Arts and Crafts in Oakland. In 1925 she traveled to New Mexico to honeymoon with her husband, poet Phillip Kloss, and was deeply drawn to the region. Thereafter, Gene and Phillip divided their time between Berkeley and Taos, New Mexico, where Gene produced etchings and paintings of the landscape and its Pueblo inhabitants.

Kloss was employed as the sole etcher for the 1933-1934 Public Works of Art Project, producing watercolors and oil paintings, and a series of New Mexico scenes that were reproduced and distributed to public schools across the state.
Provenance:
The collection was donated in 1964 by Gene Kloss.
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:
Etchers -- California  Search this
Etchers -- New Mexico -- Taos  Search this
Painters -- California  Search this
Painters -- New Mexico -- Taos  Search this
Topic:
Women artists  Search this
Women painters  Search this
Identifier:
AAA.klosgene
See more items in:
Gene Kloss papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9a1ff9171-739e-4a28-acc6-541810bae317
EDAN-URL:
ead_collection:sova-aaa-klosgene
Online Media:

Gabrielle de Veaux Clements papers

Creator:
Clements, Gabrielle de Veaux, 1858-1948  Search this
Names:
Cornell University -- Students  Search this
Hale, Ellen Day, 1855-1940  Search this
Extent:
1 Linear foot
Type:
Collection descriptions
Archival materials
Prints
Photographs
Diaries
Sketchbooks
Sketches
Place:
Egypt -- description and travel
Date:
1860-1948
Summary:
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; eight sketchbooks; and photographs of Clements, her family and friends, and her work.
Scope and Contents:
The papers of painter, etcher, printer, muralist, and art teacher Gabrielle de Veaux Clements measure 1 linear foot and date from 1860 to 1948. Found within the papers are biographical material; personal and professional correspondence, including extensive correspondence from Clements to her mother; writings, including notes and essays on art history and etching techniques; printed material; artwork; 8 sketchbooks; and photographs of Clements, her family and friends, and her work.

Biographical material consists of an address book, artwork sales and price lists, and autobiographical notes.

Correspondence is primarily with Clements' family, friends, and business associates. The series includes significant correspondence from Clements to her mother during her college years at Cornell University.

Writings include notes and essays on art history and etching techniques, 2 notebooks of poetry, and a travel diary chronicling a trip to Egypt with Ellen Day Hale.

Printed material includes clippings, exhibition catalogs, a map of the artists' colony at Rockport, Folly Cove in Massachusetts, and a copy of the book Suggestions for Illuminating by W. Randle Harrison.

Artwork consists of sketches and original etchings by Clements and artwork by others.

There are 8 sketchbooks consisting primarily of cityscapes, landscapes, and figure and portrait studies.

Photographs are of Clements, her family and friends, artists models, and work by Clements and others.
Arrangement:
The collection is arranged as 7 series.

Missing Title

Series 1: Biographical materials, circa 1920-1944 (3 folders; Box 1)

Series 2: Correspondence, circa 1875-1945 (0.3 linear feet; Box 1)

Series 3: Writings, circa 1885-1940 (8 folders; Box 1)

Series 4: Printed material, circa 1860-1948 (5 folders; Box 1)

Series 5: Artwork, circa 1895-1940 (3 folders; Box 1)

Series 6: Sketchbooks, circa 1884-1940 (0.3 linear feet; Box 1)

Series 7: Photographs, circa 1875-1940 (0.2 linear feet; Box 1)
Biographical / Historical:
Painter, printer, and art teacher Gabrielle de Veaux Clements (1858-1948) lived and worked in Philadelphia, Pennsylvania; Baltimore, Maryland; and Folly Cove near Gloucester, Massachusetts. She was known for her etchings and her commissioned murals for the cities of Baltimore and Washington, D.C.

Clements was born in Philadelphia, Pennsylvania to physician Richard Clements and his wife, Gabrielle De Vaux. Her interest in art was supported by her family and, at the age of seventeen, she began studying lithography with the designer Charles Page at the Philadelphia School of Design for Women. After graduating in 1880 from Cornell University, where she had produced a number of scientific drawings and lithographs, Clements studied with painter Thomas Eakins at the Pennsylvania Academy of Fine Arts and won the school's Toppan Prize. In 1883, Clements was introduced to etching techniques by the artist Stephen Parrish and began exhibiting and printing her works professionally.

In 1884, Clements traveled abroad to Paris to study at the Academie Julian where she was joined in 1885 by fellow painter and future lifelong companion Ellen Day Hale. Upon returning to her Philadelphia studio in 1885, Clements taught other female artists, including Margaret Bush-Brown, and exhibited in numerous institutions, including the National Academy of Design and the Boston Museum of Fine Arts. In 1895, Clements moved to Baltimore to teach art at the newly established Bryn Mawr School, where she remained until 1908. During her tenure in Baltimore, she was commissioned by the Bendann Galleries to etch nine views of Baltimore and also painted five church murals in Washington, D.C., which led to subsequent murals in Detroit, Philadelphia, and Chicago.

Clements and Hale frequently traveled abroad, visiting France, Italy, Egypt, Syria, and Palestine, and spent summers at "The Thickets," the house they purchased in the artists' colony at Folly Cove. During World War I, they wintered in Charleston, South Carolina where they opened their studios to young female artists and taught innovative etching, painting, and color printmaking techniques. After the war, they again opened their studios in Folly Cove to young artists and continued to teach and experiment with soft-ground etching and aquatints in color. This work was highlighted in special exhibitions at the J.B. Speed Art Museum and the Smithsonian Institution. Clements died in Rockport, Massachusetts in 1948.
Provenance:
The Gabrielle de Veaux Clements papers were donated by Mrs. Harlan Starr, Jr. in 1983.
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.
Occupation:
Muralists -- Massachusetts  Search this
Printmakers -- Massachusetts  Search this
Etchers -- Massachusetts  Search this
Art teachers -- Massachusetts  Search this
Topic:
Women artists  Search this
Women painters  Search this
Women printmakers  Search this
Women educators  Search this
Etching -- Technique  Search this
Art -- History  Search this
Genre/Form:
Prints
Photographs
Diaries
Sketchbooks
Sketches
Citation:
Gabrielle de Veaux Clements papers, 1860-1948. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.clemgabr
See more items in:
Gabrielle de Veaux Clements papers
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw953de79c7-7bd3-41f1-832a-e2e9b1c03b9f
EDAN-URL:
ead_collection:sova-aaa-clemgabr
Online Media:

Samuel Chamberlain papers

Creator:
Chamberlain, Samuel, 1895-1975  Search this
Extent:
13 Linear feet ((partially microfilmed on 1 reel))
Type:
Collection descriptions
Archival materials
Date:
1908-1971
Scope and Contents:
Personal and business correspondence; photographs; etchings; drawings; sketches; writings; biographical material; and clippings.
REEL 686: 24 fashion show drawings; 123 drawings, 1922, many of architectural details and buildings in France; 28 sketches of fortifications and airplanes drawn for Army Air Force Intelligence, WWII; and biographical material. In addition there is material relating to THIS REALM, THIS ENGLAND (Hastings House, 1941), a book of prints, drawings, and photographs of England by American and British artists, edited by Chamberlain, to raise funds for the British War Relief Society. Included is correspondence and manuscripts and dummies.
UNMICROFILMED: Personal and business correspondence; photographs; etchings; 12 lectures on "Expressions of Graphic Art"; notes, drafts, and dummies for 26 publications; some writings by students; and clippings.
Biographical / Historical:
Etcher and photographer; Marblehead, Mass. Died in 1975. Chamberlain is best known for his architectural photography. His early career is reflected in his etchings of European buildings for American publications.
Provenance:
Material on reel 686 lent for microfilming 1974 by Samuel Chamberlain. Unmicrofilmed material donated 1974 by Chamberlain.
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:
Etchers  Search this
Photographers  Search this
Topic:
War relief  Search this
Identifier:
AAA.chamsamu
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw902c240f5-b34a-496e-b630-0b1fb6ce4529
EDAN-URL:
ead_collection:sova-aaa-chamsamu

Three etchers in California : J. A. M. Whistler, Max Pollak, Kathan Brown ; [exhibition] May 1982, the Oakland Museum / edited by Therese Heyman

Author:
Heyman, Therese Thau  Search this
Whistler, James McNeill 1834-1903  Search this
Pollak, Max b. 1886  Search this
Brown, Kathan  Search this
Oakland Museum  Search this
Subject:
Whistler, James McNeill 1834-1903  Search this
Pollak, Max b. 1886  Search this
Brown, Kathan  Search this
Physical description:
12 p., [12] leaves of plates : ill. (some col.), ports. ; 21 cm
Type:
Exhibitions
Place:
California
Date:
1982
Topic:
Etching  Search this
Etching, American  Search this
Etchers  Search this
Call number:
N40.1.W57y T55
N40.1.W57yT55
Data Source:
Smithsonian Libraries
EDAN-URL:
edanmdm:siris_sil_343640

Myron B. Chapin papers

Creator:
Chapin, Myron B. (Myron Butman), 1887-1958  Search this
Extent:
36 Items ((on partial microfilm reel))
Type:
Collection descriptions
Archival materials
Date:
1919-1958
Scope and Contents:
A 44 page sketchbook, 1958; 1 photograph of a painting; a copy of Chapin's book VISUAL UNDERSTANDING, 1954; a letter from a student regarding this book, 25 clippings; 5 exhibition catalogs, 1921-1937; original Christmas cards; 2 letters to his mother, February 24 and April 14, 1919, in which Chapin writes of a visit to the countryside in France, where he was stationed during World War I, and of the whereabouts of his regiment.
Biographical / Historical:
Painter, etcher, illustrator; Ann Arbor, Michigan.
Provenance:
Sketchbook requested by and returned to donor, Chapin's widow, January 8, 1974.
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:
Etchers -- Michigan  Search this
Illustrators -- Michigan  Search this
Painters -- Michigan  Search this
Identifier:
AAA.chapmyro
Archival Repository:
Archives of American Art
GUID:
https://n2t.net/ark:/65665/mw9abdd7dae-34a0-4f20-b50c-088f2be7f4f8
EDAN-URL:
ead_collection:sova-aaa-chapmyro

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