The scattered papers of art critic and writer Charles Henry Caffin measure 1.2 linear feet and date from circa 1883-1973, bulk circa 1883-1918. Found within the papers are an interview transcript, two letters, printed materials, one scrapbook, and family photographs dating from circa 1883 to circa 1911, many by noted photographers Arnold Genthe, Frances Benjamin Johnston, Gertrude Käsebier, Edward Steichen, and Alfred Stieglitz. The scrapbook contains Caffin's columns for the New York American, 1913-1915.
Scope and Content Note:
The scattered papers of art critic and writer Charles Henry Caffin measure 1.2 linear feet and date from circa 1883-1973. Found within the papers are an interview transcript, two letters, printed materials, one scrapbook, and family photographs dating from circa 1883 to circa 1911, many by noted photographers Arnold Genthe, Frances Benjamin Johnston, Gertrude Käsebier, Edward Steichen, and Alfred Stieglitz. The scrapbook contains Caffin's columns for the New York American, 1913-1915.
Biographical information includes an autograph book, and a transcript and written summary of a 1973 interview with Caffin's daughter, Donna Layton, conducted by Wanda Corn and Deborah Loft concerning Charles Henry Caffin. The two letters found within the papers are written to Caroline Caffin. Printed material consists of play announcements, a play written by Charles Rann Kennedy, and excerpts from a 1974 published book on photography mentioning Caffin.
Photographs are of the Caffin family, including Charles Henry, Caroline, Donna, Freda and Charles's mother Harlet. Also found are photographs of Ben Greet. Notable photographers include Arnold Genthe, Frances Benjamin Johnston, Gertrude Käsebier, Edward Steichen, and Alfred Stieglitz. There is one scrapbook containing Charles Henry Caffin's articles written for the New York American magazine from 1913-1915.
Arrangement:
The collection is arranged into 5 series:
Missing Title
Series 1: Biographical Information, 1915, 1973 (Box 1; 2 folders)
Series 2: Correspondence, 1920 (Box 1; 1 folder)
Series 3: Printed Material, 1908, circa 1920, 1973 (Box 1; 3 folders)
Series 4: Photographs, circa 1883-circa 1910s (Box 1, 3-4; 0.6 linear feet)
Series 5: Scrapbooks, 1913-1915 (Box 2; 0.4 linear feet)
Biographical Note:
Charles Henry Caffin was born in 1854 in England. After graduating from Oxford University, Caffin served as stage manager for outdoor productions with Ben Greet and His Shakespearean Players. During this time, he met actress Caroline Scurfield, whom he later married and had two daughters, Freda and Donna. Caffin moved to United States in 1892 where he began to write about art, drama, and dance. He was an early supporter of the Photo-Secessionists and American modern art.
Initially, Caffin worked for several years executing murals from designs prepared by other artists for the World's Columbian Exposition in Chicago and the new Library of Congress in Washington, D.C. Shortly thereafter, however, he began writing for Alfred Stieglitz's Camera Notes and later Camera Work. He moved to the New York City area and worked as a critic for the New York Evening Post, New York Sun, and later for the New York American. Caffin wrote many books about art, drama, and dance, including Photography as Fine Art (1901), American Masters of Painting (1902), How to Study Pictures (1905), and Art for Life's Sake (1913).
Charles Caffin died in 1918.
Provenance:
Donna Caffin Layton, daughter of Charles Caffin, donated most of the papers in 1974. Stephen D. Rockstroh, Caffin's son-in-law, donated additional material in 1985.
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:
Art critics -- New York (State) -- New York Search this
This subseries contains a rich collection of photographs of many of the artists whose work was handled by the Macbeth Gallery. As revealed in the gallery's correspondence files, artists occasionally wrote to the gallery enclosing pictures for what was known as Macbeth's "Rogue Gallery," presumably a file of photographs maintained for publicity purposes. A substantial number of the photographs are original silver gelatin and platinum prints; there are also several daguerrotypes and an original photo postcard. Many of the photographs are autographed and some are addressed to the gallery. Many of the photographs were taken by commerical studios such as Alman & Co., De Vos, Haeseler, and Peter A. Juley, and several were taken by Gertrude Käsebier.
The photographs are arranged alphabetically by artist with two group photographs at the end of the subseries showing a group of artists in the Sherwood Studio Building in 1889 (Willard Allen, Carleton Chapman, Herbert Denham, Sam Isham, Willard Metcalf, Robert Reid, Robert Van Boskerck, Thomas Sullivant, and Harry Watrous); and the group of artists known as "The Ten" (Frank W. Benson, William Merritt Chase, Joseph R. DeCamp, T. W. Dewing, Childe Hassam, W. L. Metcalf, Robert Reid, Edward Simmons, Edmund C. Tarbell and Julian Alden Weir) taken in 1908 on the occasion of their exhibition at Durand-Ruel, Inc. Folders may contain original prints in addition to copy prints and any accompanying or identifying information. The photographs of artists have been digitally scanned and may be viewed on the AAA Digital Collections Database.
Collection Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
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.
