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Oral history interview with Peter Howard Selz, 1982 July 28-October 12

Interviewee:
Selz, Peter Howard, 1919-2019  Search this
Interviewer:
Karlstrom, Paul J., 1941-  Search this
Subject:
Francis, Sam  Search this
Pascin, Jules  Search this
Hartley, Marsden  Search this
Rothko, Mark  Search this
Stieglitz, Alfred  Search this
Magritte, René  Search this
Type:
Sound recordings
Interviews
Topic:
Art historians  Search this
Record number:
(DSI-AAA_CollID)11969
(DSI-AAA_SIRISBib)212099
AAA_collcode_selz82
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_212099

Zabriskie Gallery records, 1951-2010

Creator:
Zabriskie Gallery  Search this
Subject:
Christenberry, William  Search this
Yunkers, Adja  Search this
Lozowick, Louis  Search this
Wilmarth, Christopher  Search this
Zabriskie, Virginia M. (Virginia Marshall)  Search this
Crawford, Ralston  Search this
Benglis, Lynda  Search this
Tworkov, Jack  Search this
Hartley, Marsden  Search this
Stankiewicz, Richard  Search this
Tacha, Athena  Search this
Snelson, Kenneth  Search this
Davis, Stuart  Search this
Nordfeldt, Bror Julius Olsson  Search this
Vytlacil, Vaclav  Search this
Lockspeiser, Mary  Search this
Siskind, Aaron  Search this
Sugarman, George  Search this
Archipenko, Alexander  Search this
Baizerman, Saul L.  Search this
King, William Dickey  Search this
Galerie Zabriskie  Search this
Topic:
Art, American  Search this
Art, Modern  Search this
Record number:
(DSI-AAA_CollID)10983
(DSI-AAA_SIRISBib)214845
AAA_collcode_zabrgall
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_214845

Whitney Museum of American Art artists' files and records, 1914-1966

Creator:
Whitney Museum of American Art  Search this
Subject:
Henri, Robert  Search this
Stella, Joseph  Search this
Cadmus, Paul  Search this
Weber, Max  Search this
Kuhn, Walt  Search this
Gatch, Lee  Search this
Harnett, William Michael  Search this
Rothko, Mark  Search this
Smith, David  Search this
Tworkov, Jack  Search this
Karfiol, Bernard  Search this
Baziotes, William  Search this
Hartley, Marsden  Search this
Marsh, Reginald  Search this
Eilshemius, Louis M. (Louis Michel)  Search this
Davis, Stuart  Search this
Schnakenberg, H. E. (Henry Ernest)  Search this
Graves, Morris  Search this
Pollock, Jackson  Search this
Tobey, Mark  Search this
Sheeler, Charles  Search this
Rimmer, William  Search this
Twachtman, John Henry  Search this
Reder, Bernard  Search this
Hofmann, Hans  Search this
Benton, Thomas Hart  Search this
Kuniyoshi, Yasuo  Search this
Burlin, Paul  Search this
O'Keeffe, Georgia  Search this
Hopper, Edward  Search this
Gross, Chaim  Search this
Gorky, Arshile  Search this
Inness, George  Search this
Bellows, George  Search this
Grosz, George  Search this
Motherwell, Robert Burns  Search this
Prendergast, Maurice Brazil  Search this
Marin, John  Search this
Bloom, Hyman  Search this
Cassatt, Mary  Search this
Walkowitz, Abraham  Search this
Dickinson, Edwin Walter  Search this
Burchfield, Charles Ephraim  Search this
MacIver, Loren  Search this
Wyant, A. H. (Alexander Helwig)  Search this
Pène Du Bois, Guy  Search this
Zorach, William  Search this
De Creeft, José  Search this
Evergood, Philip Howard  Search this
Feininger, Lyonel  Search this
Curry, John Steuart  Search this
Rivers, Larry  Search this
Nevelson, Louise  Search this
Sloan, John French  Search this
Glackens, William J. (William James)  Search this
Mount, William Sidney  Search this
Young, Mahonri Mackintosh  Search this
Ryder, Albert Pinkham  Search this
Lawson, Ernest  Search this
Lachaise, Gaston  Search this
Pereira, I. Rice (Irene Rice)  Search this
Whitney Studio Club  Search this
Whitney Studio Galleries  Search this
Topic:
Artists  Search this
Art, American  Search this
Art, Modern  Search this
Record number:
(DSI-AAA_CollID)6584
(DSI-AAA_SIRISBib)215886
AAA_collcode_whitmuse
Theme:
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_215886

Oral history interview with George Biddle, 1963

Interviewee:
Biddle, George, 1885-1973  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Bacon, Peggy  Search this
Sterne, Maurice  Search this
Benton, Thomas Hart  Search this
Bruce, Edward  Search this
Miller, Kenneth Hayes  Search this
Robinson, Boardman  Search this
Zorach, William  Search this
Samuel, Halpert  Search this
Tamayo, Rufino  Search this
Stieglitz, Alfred  Search this
Grosz, George  Search this
Evergood, Philip Howard  Search this
Orozco, José Clemente  Search this
Hartley, Marsden  Search this
Marsh, Reginald  Search this
Weber, Max  Search this
Siqueiros, David Alfaro  Search this
Demuth, Charles  Search this
Billings, Henry  Search this
Rivera, Diego  Search this
Cahill, Holger  Search this
Public Works of Art Project  Search this
New Deal and the Arts Oral History Project  Search this
Type:
Sound recordings
Interviews
Topic:
Sculptors  Search this
Federal aid to the arts  Search this
Art  Search this
Painters  Search this
Record number:
(DSI-AAA_CollID)12696
(DSI-AAA_SIRISBib)213269
AAA_collcode_biddle63
Theme:
New Deal
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_213269

Oral history interview with Edith Gregor Halpert, 1962-1963

Interviewee:
Halpert, Edith Gregor, 1900-1970  Search this
Interviewer:
Phillips, Harlan B. (Harlan Buddington),, 1920-  Search this
Subject:
Steichen, Edward  Search this
Knox, Seymour H.  Search this
Kroll, Leon  Search this
Kuhn, Walt  Search this
Stein, Gertrude  Search this
Field, Hamilton Easter  Search this
Whitney, Gertrude Vanderbilt  Search this
Cahill, Holger  Search this
Fergusson, John Duncan  Search this
LÔeger, Fernand  Search this
Hartley, Marsden  Search this
Pascin, Jules  Search this
Noguchi, Isamu  Search this
Saarinen, Aline B. (Aline Bernstein)  Search this
Sandburg, Carl  Search this
Wittenberg, Philip  Search this
Fuller, R. Buckminster (Richard Buckminster),  Search this
Rivera, Diego  Search this
Hirsch, Stefan  Search this
Barrie, Erwin S.  Search this
Locke, Charles  Search this
Demuth, Charles  Search this
Cary, Elisabeth Luther  Search this
Weber, Max  Search this
Chase, William Merritt  Search this
Zorach, Marguerite  Search this
O'Keeffe, Georgia  Search this
Saklatwalla, Beram K.  Search this
Greenberg, Clement  Search this
Benton, Thomas Hart  Search this
Bacon, Peggy  Search this
Hopper, Edward  Search this
Force, Juliana  Search this
Brackman, Robert  Search this
Rockefeller, Abby Aldrich  Search this
Pollock, Jackson  Search this
Frost, Robert  Search this
Kuniyoshi, Yasuo  Search this
Halpert, Samuel  Search this
Davis, Stuart  Search this
Sheeler, Charles  Search this
Soutine, Chaim  Search this
Zerbe, Karl  Search this
Goodyear, A. Conger (Anson Conger),  Search this
Levine, Jack  Search this
Dudensing, F. Valentine  Search this
Williams, William Carlos  Search this
Stieglitz, Alfred  Search this
Vollard, Ambroise  Search this
Deskey, Donald  Search this
Picasso, Pablo  Search this
Robinson, Edward G.  Search this
Siporin, Mitchell  Search this
Daniel, Charles  Search this
Hopkinson, Charles  Search this
Ford, Ford Madox  Search this
Barr, Alfred H.  Search this
Luks, George Benjamin  Search this
Mellon, Paul  Search this
Shan, Benjamin  Search this
Coleman, Glenn O.  Search this
Bridgman, George Brant  Search this
Lawrence, Jacob  Search this
Dove, Arthur Garfield  Search this
Marin, John  Search this
Brixey, Richard de Wolfe  Search this
Levy, Julien  Search this
Pound, Ezra  Search this
Montross, N. E. (Newman E.),  Search this
Zorach, William  Search this
Stella, Frank  Search this
Mercer, Henry Chapman  Search this
Calder, Alexander  Search this
Johns, Jasper  Search this
Crowninshield, Frank  Search this
Stern, Louis E.  Search this
Laurent, Robert  Search this
McBride, Henry  Search this
Kline, Franz  Search this
Tannahill, Robert Hudson  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
Grand Central Art Galleries  Search this
C.W. Kraushaar Art Galleries  Search this
New Gallery (New York, N.Y.)  Search this
Downtown Gallery (New York, N.Y.)  Search this
Daniel Gallery  Search this
Ferargil Galleries  Search this
Topic:
Art  Search this
Art dealers  Search this
Folk art  Search this
Camouflage  Search this
Record number:
(DSI-AAA_CollID)13220
(DSI-AAA_SIRISBib)214627
AAA_collcode_halper62
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_214627
Online Media:

Oral history interview with Peter Agostini, 1968

Interviewee:
Agostini, Peter, 1913-1993  Search this
Interviewer:
Roberts, Colette Jacqueline, 1910-1971  Search this
Subject:
Cézanne, Paul  Search this
Hare, David  Search this
Lassaw, Ibram  Search this
Zorach, William  Search this
Chryssa  Search this
Kline, Franz  Search this
Smith, Tony  Search this
Ferber, Herbert  Search this
Duchamp, Marcel  Search this
Marin, John  Search this
Sugarman, George  Search this
Chamberlain, John Angus  Search this
Mondrian, Piet  Search this
Flannagan, John Bernard  Search this
Heukelekian, Haig  Search this
De Kooning, Willem  Search this
Kaprow, Allan  Search this
Roszak, Theodore  Search this
Whitman, Walt  Search this
Kienholz, Edward  Search this
Dove, Arthur Garfield  Search this
Judd, Donald C. (Donald Clarence)  Search this
Lachaise, Gaston  Search this
Di Suvero, Mark  Search this
Dubuffet, Jean  Search this
Matisse, Henri  Search this
Kolbe, Georg  Search this
Macdonald-Wright, Stanton  Search this
Manship, Paul Howard  Search this
Lippold, Richard  Search this
Lipton, Seymour  Search this
La Tour, Onya  Search this
De Chirico, Giorgio  Search this
Pompon, Fran­cois  Search this
Spaventa, George  Search this
Hartley, Marsden  Search this
Noguchi, Isamu  Search this
Segal, George  Search this
Stankiewicz, Richard  Search this
Oldenberg, Kla'es  Search this
Rothko, Mark  Search this
Giacometti, Alberto  Search this
Smith, David  Search this
Bontecou, Lee  Search this
Sheeler, Charles  Search this
Tobey, Mark  Search this
Reinhardt, Adolph Dietrich Friedrich  Search this
Demuth, Charles  Search this
Cornell, Joseph  Search this
Rivera, Diego  Search this
Escobar, Maria Sol  Search this
Samaras, Lucas  Search this
Kohn, Gabriel  Search this
Scarpitta, Salvatore  Search this
Maillol, Aristide  Search this
Morris, Robert  Search this
Greenberg, Clement  Search this
Nakian, Reuben  Search this
Poe, Edgar Allan  Search this
Hopper, Edward  Search this
Melville, Herman  Search this
Marca-Relli, Conrad  Search this
O'Keeffe, Georgia  Search this
Pollock, Jackson  Search this
Works Progress Administration  Search this
Columbia University  Search this
Type:
Sound recordings
Interviews
Topic:
Abstract expressionism  Search this
Sculptors  Search this
Record number:
(DSI-AAA_CollID)12490
(DSI-AAA_SIRISBib)215743
AAA_collcode_agosti68
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_oh_215743
Online Media:

John Quinn ledgers, 1909-1924

Creator:
Quinn, John, 1870-1924  Search this
Subject:
Kuhn, Walt  Search this
Davies, Arthur B. (Arthur Bowen)  Search this
Pascin, Jules  Search this
Hartley, Marsden  Search this
Sheeler, Charles  Search this
Marin, John  Search this
Derain, André  Search this
Redon, Odilon  Search this
Prendergast, Maurice Brazil  Search this
Stieglitz, Alfred  Search this
Villon, Jacques  Search this
Cézanne, Paul  Search this
Vollard, Ambroise  Search this
Renoir, Auguste  Search this
Schamberg, Morton L.  Search this
Macdonald-Wright, Stanton  Search this
Duchamp-Villon, Raymond  Search this
Weber, Max  Search this
Severini, Gino  Search this
Epstein, Jacob  Search this
Association of American Painters and Sculptors (New York, N.Y.)  Search this
M. Knoedler & Co.  Search this
Montross Gallery  Search this
Penguin Club (New York, N.Y.)  Search this
Durand-Ruel Galleries (New York, N.Y.)  Search this
Macbeth Gallery  Search this
Photo-Secession Galleries (New York, N.Y.)  Search this
Tiffany Studios  Search this
International Exhibition of Modern Art (1913 : New York, N.Y.)  Search this
Topic:
Art patronage  Search this
Art  Search this
Record number:
(DSI-AAA_CollID)7242
(DSI-AAA_SIRISBib)209391
AAA_collcode_quinjohl
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209391

Hudson D. Walker papers, 1920-1982

Creator:
Walker, Hudson D. (Hudson Dean), 1907-1976  Search this
Subject:
Valentiner, Wilhelm Reinhold  Search this
Sepeshy, Zoltan L. (Zoltan Leslie)  Search this
Gaertner, Carl F. (Carl Frederick)  Search this
Ribak, Louis  Search this
Maurer, Alfred Henry  Search this
Dodd, Lamar  Search this
Weeren-Griek, Hans van  Search this
Greenbaum, Dorothea S.  Search this
Booth, Cameron  Search this
Hirsch, Joseph  Search this
Fuller, Sue  Search this
Browne, Byron  Search this
Cook, Howard Norton  Search this
Jules, Mervin  Search this
Walker, Ione  Search this
Evergood, Philip Howard  Search this
Reeder, Dickson  Search this
Sprinchorn, Carl  Search this
Benn, Ben  Search this
McCausland, Elizabeth  Search this
Maril, Herman  Search this
Davis, Gladys Rockmore  Search this
Hartley, Marsden  Search this
Brenson, Theodore  Search this
Kemp, Harry  Search this
Cahn, Joshua Binion  Search this
Botkin, Henry  Search this
Tinguely, Jean  Search this
Schnakenberg, H. E. (Henry Ernest)  Search this
Biberman, Edward  Search this
Sokole, Miron  Search this
Fuerstenburg, Eugenia M.  Search this
Sternberg, Harry  Search this
Blatas, Arbit  Search this
Charlton, Gene  Search this
Moy, Seong  Search this
West, Clifford B.  Search this
American Federation of Arts  Search this
Artists Equity Association  Search this
Parke-Bernet Galleries  Search this
Walker Art Center  Search this
Topic:
Art  Search this
Record number:
(DSI-AAA_CollID)9261
(DSI-AAA_SIRISBib)211456
AAA_collcode_walkhuds
Theme:
The Art Market
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211456

John Henry Bradley Storrs papers, 1790-2007, bulk 1900-1956

Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Subject:
Zorach, Marguerite  Search this
Cole, Walter  Search this
Stieglitz, Alfred  Search this
Duchamp, Marcel  Search this
Andersen, Hendrik Christian  Search this
Cret, Paul Philippe  Search this
Samuel, Halpert  Search this
Zorach, William  Search this
Braque, Georges  Search this
Calder, Alexander  Search this
Raynal, Maurice  Search this
Hélion, Jean  Search this
Rodin, Auguste  Search this
Blum, Jerome  Search this
Bryant, Louise  Search this
Bennett, Edward H.  Search this
Dismorr, Jessica Stewart  Search this
Stella, Joseph  Search this
Chabrol, Marguerite Deville  Search this
Fuller, R. Buckminster (Richard Buckminster),  Search this
Lipschitz, Jacques  Search this
Dreier, Katherine Sophie  Search this
LÔeger, Fernand  Search this
Eastman, Max  Search this
Ray, Man  Search this
Heap, Jane  Search this
Sheeler, Charles  Search this
Anderson, Sherwood  Search this
Hartley, Marsden  Search this
Survage, Leopold  Search this
Sterne, Maurice  Search this
Hecht, Zoltan  Search this
Biddle, George  Search this
Downtown Gallery (New York, N.Y.)  Search this
Type:
Scrapbooks
Video recordings
Sketchbooks
Topic:
Expatriate artists  Search this
Artists' studios  Search this
World War, 1939-1945  Search this
Sculpture, Modern  Search this
Record number:
(DSI-AAA_CollID)9484
(DSI-AAA_SIRISBib)211682
AAA_collcode_storjohn
Theme:
Diaries
Sketches & Sketchbooks
American Art and Artists in a Global Context
Chicago's Art-Related Archival Materials: A Terra Foundation Resource
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211682
Online Media:

Alfredo Valente papers, 1941-1978

Creator:
Valente, Alfredo, 1899-1973  Search this
Subject:
Harmon, Lily  Search this
Tschacbasov, Nahum  Search this
Soyer, Raphael  Search this
Gottlieb, Adolph  Search this
Menkes, Sigmund  Search this
Walkowitz, Abraham  Search this
Carreño, Mario  Search this
Aronson, Boris  Search this
Rome, Harold  Search this
Dalí, Salvador  Search this
Evergood, Philip Howard  Search this
Orozco, José Clemente  Search this
Lawrence, Jacob  Search this
DeMartini, Joseph  Search this
Avery, Milton  Search this
Liberte, Jean  Search this
Dobkin, Alexander  Search this
Rose, Iver  Search this
Weber, Max  Search this
Ormandy, Eugene  Search this
Toney, Anthony  Search this
Kelekian, Dikran  Search this
Masson, André  Search this
Hartley, Marsden  Search this
Wilson, Ben  Search this
Lax, David  Search this
Kleinholz, Frank  Search this
Gropper, William  Search this
Teichman, Sabina  Search this
Soyer, Moses  Search this
Kuniyoshi, Yasuo  Search this
Lassen, Ben  Search this
Gwathmey, Robert  Search this
Marsh, Reginald  Search this
Stark, Margaret  Search this
Ryan, Sally  Search this
Haucke, Frederick  Search this
Blatas, Arbit  Search this
Miller, Henry  Search this
Benton, Thomas Hart  Search this
Lebduska, Lawrence  Search this
Gross, Chaim  Search this
Burliuk, David  Search this
Greenwood, Marion  Search this
Grosz, George  Search this
Alfredo Valente Gallery  Search this
Type:
Scrapbooks
Video recordings
Topic:
Portrait photography  Search this
Art and photography  Search this
Artists  Search this
Record number:
(DSI-AAA_CollID)5567
(DSI-AAA_SIRISBib)213857
AAA_collcode_valealfr
Theme:
American Art and Artists in a Global Context
Photography
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_213857

Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002

Creator:
Rönnebeck, Arnold H., 1885-1947  Search this
Ronnebeck, Louise Emerson, 1901-1980  Search this
Subject:
Luhan, Tony  Search this
Miller, Kenneth Hayes  Search this
Stieglitz, Alfred  Search this
Ganson, Mabel  Search this
Demuth, Charles  Search this
Hartley, Marsden  Search this
Type:
Drawings
Scrapbooks
Topic:
Women artists  Search this
Muralists  Search this
Portrait sculpture  Search this
Record number:
(DSI-AAA_CollID)5977
(DSI-AAA_SIRISBib)228105
AAA_collcode_ronnarno
Theme:
Sketches & Sketchbooks
Women
Lives of American Artists
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_228105
Online Media:

Eva Lee Gallery records, 1921-1973

Creator:
Eva Lee Gallery  Search this
Subject:
Lipschitz, Jacques  Search this
Hartley, Marsden  Search this
Loewe, Frederick  Search this
Neumann, J. B. (Jsrael Ber)  Search this
Lieberman, Harry  Search this
Hopkins, John  Search this
Benton, Thomas Hart  Search this
Ritchie, Andrew Carnduff  Search this
Grosz, George  Search this
Nesbitt, Lowell  Search this
Marin, John  Search this
Simpson, Merton D. (Merton Daniel)  Search this
Shan, Benjamin  Search this
Corinth, Lovis  Search this
Indiana, Robert  Search this
Calder, Alexander  Search this
Odets, Clifford  Search this
Lee, Eva  Search this
Christo  Search this
Feininger, Lyonel  Search this
Mommer, Paul  Search this
Dalí, Salvador  Search this
Magritte, René  Search this
Albers, Josef  Search this
Vasarely, Victor  Search this
Valentin, Curt  Search this
Benn, Ben  Search this
Cornell, Joseph  Search this
Weber, Max  Search this
Korvettes  Search this
New Art Circle (New York, N.Y.)  Search this
Record number:
(DSI-AAA_CollID)8866
(DSI-AAA_SIRISBib)211051
AAA_collcode_evalee
Theme:
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_211051
Online Media:

Downtown Gallery records, 1824-1974, bulk 1926-1969

Creator:
Downtown Gallery (New York, N.Y.)  Search this
Subject:
Levi, Julian E. (Julian Edwin)  Search this
Storrs, John Henry Bradley  Search this
Burlin, Paul  Search this
Pattison, Abbott Lawrence  Search this
Nakian, Reuben  Search this
Zorach, Marguerite  Search this
Reynal, Kay Bell  Search this
Siegel, Adrian  Search this
Marin, John  Search this
Sunami, Soichi  Search this
Siporin, Mitchell  Search this
Zerbe, Karl  Search this
Shan, Benjamin  Search this
Karolik, Maxim  Search this
Cikovsky, Nicolai  Search this
Stieglitz, Alfred  Search this
Bry, Doris  Search this
Van Vechten, Carl  Search this
Breinin, Raymond  Search this
Levine, Jack  Search this
Doi, Isami  Search this
Garbisch, Edgar  Search this
Osborn, Robert Chesley  Search this
Samuel, Halpert  Search this
Webb, Electra Havemeyer  Search this
Pollet, Joseph C.  Search this
Zorach, William  Search this
Tannahill, Robert Hudson  Search this
Valente, Alfredo  Search this
Stasack, Edward  Search this
Hart, George Overbury  Search this
Karfiol, George  Search this
Guglielmi, Louis  Search this
Lea, Wesley  Search this
Adams, Ansel Easton  Search this
Lawrence, Jacob  Search this
Wilde, Isabel Carleton  Search this
Crawford, Ralston  Search this
Yavno, Max  Search this
Dove, Arthur Garfield  Search this
Coleman, Glenn O.  Search this
Carlen, Robert  Search this
Pippin, Horace  Search this
Dole, William  Search this
Tseng, Yu-ho  Search this
Stella, Joseph  Search this
Steig, William  Search this
Broderson, Morris  Search this
Klein, Carl  Search this
Demuth, Charles  Search this
Weber, Max  Search this
Karfiol, Bernard  Search this
Brook, Alexander  Search this
Lewandowski, Edmund  Search this
Ray, Man  Search this
Newman, Arnold  Search this
Harnett, William Michael  Search this
Hopper, Jo N. (Josephine Nivison),  Search this
Zajac, Jack  Search this
Hartley, Marsden  Search this
Morris, George L. K. (George Lovett Kingsland)  Search this
Spencer, Niles  Search this
Lane, William H.  Search this
Sheeler, Charles  Search this
Steichen, Edward  Search this
Rattner, Abraham  Search this
Halpert, Samuel  Search this
Pascin, Jules  Search this
Fredenthal, David  Search this
Bennett, Rainey  Search this
Rockefeller, Abby Aldrich  Search this
Davis, Stuart  Search this
Saklatwalla, Beram K.  Search this
Walters, Carl  Search this
O'Keeffe, Georgia  Search this
Maya, Otto  Search this
Kuniyoshi, Yasuo  Search this
Tam, Reuben  Search this
Boris Mirski (Gallery : Boston, Mass.)  Search this
Felix Landau Gallery  Search this
American Folk Art Gallery  Search this
Our Gallery (New York, N.Y.)  Search this
Type:
Video recordings
Topic:
Chalkware  Search this
Art, Modern  Search this
Weather vanes  Search this
Art  Search this
Figureheads of ships  Search this
Folk art  Search this
Fraktur art  Search this
Record number:
(DSI-AAA_CollID)6293
(DSI-AAA_SIRISBib)221206
AAA_collcode_downgall
Theme:
African American
The Art Market
Art Gallery Records
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_221206
Online Media:

American Federation of Arts records, 1895-1993, bulk 1909-1969

Creator:
American Federation of Arts  Search this
Subject:
Whistler, James McNeill  Search this
Whittredge  Search this
Lawrence, Jacob  Search this
Altman, Harold  Search this
Henri, Robert  Search this
Crawford, Ralston  Search this
Dubuffet, Jean  Search this
Bishop, Isabel  Search this
Avery, Milton  Search this
Frasconi, Antonio  Search this
Kelly, Ellsworth  Search this
Goodnough, Robert  Search this
Stella, Joseph  Search this
Albert, Calvin  Search this
Hayter, Stanley William  Search this
Kahn, Max  Search this
Zoellner, Richard  Search this
Pereira, I. Rice (Irene Rice)  Search this
Tomlin, Bradley Walker  Search this
Jorn, Asger  Search this
Mechlin, Leila  Search this
Goya, Francisco  Search this
Parks, Gordon  Search this
Demuth, Charles  Search this
Weber, Max  Search this
Gatch, Lee  Search this
Diebenkorn, Richard  Search this
Steinberg, Hedda  Search this
Antreasian, Garo Z. (Garo Zareh)  Search this
Smith, David  Search this
Tworkov, Jack  Search this
Rembrandt  Search this
Heliker, John Edward  Search this
Xceron, Jean  Search this
Wyeth, Andrew  Search this
Margo, Boris  Search this
Nicholson, Ben  Search this
Lipschitz, Jacques  Search this
Baziotes, William  Search this
Baskin, Leonard  Search this
Rattner, Abraham  Search this
LÔeger, Fernand  Search this
Summers, Carol  Search this
Reinhardt, Adolph Dietrich Friedrich  Search this
Sato, Tadashi  Search this
Force, Juliana  Search this
Marsh, Reginald  Search this
Perlmutter, Jack  Search this
Moller, Hans  Search this
Eilshemius, Louis M. (Louis Michel)  Search this
Moore, Henry  Search this
Seligmann, Kurt  Search this
Morris, George L. K. (George Lovett Kingsland)  Search this
Neuberger, Roy R. (Roy Rothschild)  Search this
Spruance, Benton  Search this
Stamos, Theodoros  Search this
Graves, Morris  Search this
Spaeth, Eloise O.  Search this
Tobey, Mark  Search this
Gwathmey, Robert  Search this
Sheeler, Charles  Search this
Steichen, Edward  Search this
Hartley, Marsden  Search this
Von Wicht, John  Search this
Chase, William Merritt  Search this
Tchelitchew, Pavel  Search this
Moy, Seong  Search this
Hofmann, Hans  Search this
Pollock, Jackson  Search this
Savelli, Angelo  Search this
Arp, Jean  Search this
Jones, John Paul  Search this
Kuniyoshi, Yasuo  Search this
Francis, Sam  Search this
Peterdi, Gabor  Search this
O'Keeffe, Georgia  Search this
Von Wiegand, Charmion  Search this
Sterne, Maurice  Search this
Bertoia, Arieto  Search this
Hopper, Edward  Search this
Berman, Eugene  Search this
Meeker, Dean  Search this
Zao, Wou-ki  Search this
Eakins, Thomas  Search this
Weir, Julian Alden  Search this
Saetti, Bruno  Search this
Bingham, George Caleb  Search this
Breuer, Marcel  Search this
Wald, Sylvia  Search this
Treiman, Joyce Wahl  Search this
Day, Worden  Search this
Luks, George Benjamin  Search this
De Diego, Julio  Search this
Prendergast, Maurice Brazil  Search this
Tiepolo, Giovanni Battista  Search this
Zorach, Marguerite  Search this
Callahan, Kenneth L.  Search this
Miró, Joan  Search this
Marin, John  Search this
Watkins, Franklin Chenault  Search this
Suzuki, James  Search this
Knaths, Karl  Search this
Ernst, Jimmy  Search this
Schongauer, Martin  Search this
Picasso, Pablo  Search this
Bellows, George  Search this
Thon, William  Search this
Ruckstull, F. W. (Fred Wellington),  Search this
Walkowitz, Abraham  Search this
Tamayo, Rufino  Search this
Stone, Edward Durell  Search this
Burchfield, Charles Ephraim  Search this
Shan, Benjamin  Search this
Brooks, James  Search this
De Kooning, Willem  Search this
Takal, Peter  Search this
Zerbe, Karl  Search this
Rauschenberg, Robert  Search this
Levine, Jack  Search this
Schanker, Louis  Search this
Steg, J. L.  Search this
Turner, Joseph Mallord William  Search this
Wines, James  Search this
Stieglitz, Alfred  Search this
Roszak, Theodore  Search this
Gottlieb, Adolph  Search this
Braque, Georges  Search this
Zorach, William  Search this
Fine, Perle  Search this
Hassam, Childe  Search this
Frankenthaler, Helen  Search this
Coen, Eleanor Jean  Search this
Santomaso, Giuseppe  Search this
Thrall, Arthur  Search this
Porter, Fairfield  Search this
Chagall, Marc  Search this
Sargent, John Singer  Search this
Roderick, Nathan Joseph  Search this
Schrag, Karl  Search this
Schramm, James S  Search this
Soyer, Raphael  Search this
Whiting, Frederic Allen  Search this
Feininger, Lyonel  Search this
Vespignani, Renzo  Search this
Kohn, Misch  Search this
MacIver, Loren  Search this
Gonzalez, Xavier  Search this
Blume, Peter  Search this
Nevelson, Louise  Search this
Ratkai, George  Search this
Klee, Paul  Search this
Citron, Minna Wright  Search this
Adams, Ansel Easton  Search this
Renoir, Auguste  Search this
Chesney, Lee  Search this
Pozzatti, Rudy O.  Search this
Sloan, John French  Search this
Yunkers, Adja  Search this
Dove, Arthur Garfield  Search this
Conover, Robert F. (Robert Fremont)  Search this
Degas, Edgar  Search this
Albers, Josef  Search this
Ryder, Albert Pinkham  Search this
Murch, Walter Tandy  Search this
Clements, Geoffrey  Search this
Kienbusch, William Austin  Search this
De Rivera, José Ruiz  Search this
Rivers, Larry  Search this
Daumier, Honoré  Search this
Albers, Annie  Search this
Barnet, Will  Search this
Hartigan, Grace  Search this
George, Thomas  Search this
Tiepolo, Giovanni Domenico  Search this
Casarella, E. (Edmond)  Search this
Okada, Kenzo  Search this
Tooker, George  Search this
Virginia Museum of Fine Arts  Search this
Metropolitan Museum of Art (New York, N.Y.)  Search this
Type:
Sound recordings
Topic:
Art  Search this
Art, American  Search this
Record number:
(DSI-AAA_CollID)5411
(DSI-AAA_SIRISBib)209113
AAA_collcode_amerfeda
Theme:
The Art Market
Lives of American Artists
American Art and Artists in a Global Context
Communities, Organizations, Museums
Data Source:
Archives of American Art
EDAN-URL:
edanmdm:AAADCD_coll_209113
Online Media:

John Henry Bradley Storrs papers

Creator:
Storrs, John Henry Bradley, 1885-1956  Search this
Names:
Downtown Gallery (New York, N.Y.)  Search this
Andersen, Hendrik Christian, 1872-1940  Search this
Anderson, Sherwood, 1876-1941  Search this
Bennett, Edward H.  Search this
Biddle, George, 1885-1973  Search this
Blum, Jerome, 1884-1956  Search this
Braque, Georges, 1882-1963  Search this
Bryant, Louise, 1885-1936  Search this
Calder, Alexander, 1898-1976  Search this
Cole, Walter, b. 1891  Search this
Cret, Paul Philippe, 1876-1945  Search this
Dismorr, Jessica Stewart, 1885-1939  Search this
Dreier, Katherine Sophie, 1877-1952  Search this
Duchamp, Marcel, 1887-1968  Search this
Eastman, Max, 1883-1969  Search this
Fuller, R. Buckminster (Richard Buckminster), 1895-  Search this
Halpert, Edith Gregor, 1900-1970  Search this
Hartley, Marsden, 1877-1943  Search this
Heap, Jane  Search this
Hecht, Zoltan, 1890-1968  Search this
Hélion, Jean, 1904-1987  Search this
Lipchitz, Jacques, 1891-1973  Search this
Léger, Fernand, 1881-1955  Search this
Ray, Man, 1890-1976  Search this
Raynal, Maurice  Search this
Rodin, Auguste, 1840-1917  Search this
Sheeler, Charles, 1883-1965  Search this
Stella, Joseph, 1877-1946  Search this
Sterne, Maurice  Search this
Stieglitz, Alfred, 1864-1946  Search this
Storrs, Marguerite Deville Chabrol  Search this
Survage, Leopold  Search this
Zorach, Marguerite, 1887-1968  Search this
Zorach, William, 1887-1966  Search this
Extent:
20.44 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Date:
1790-2007
bulk 1900-1956
Summary:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790-2007, with the bulk of the papers dating from 1900 to 1956. The collection contains biographical material, correspondence, personal business records, forty-eight diaries of John Storrs, a few diaries of other family members, additional writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. Correspondence includes that of John Storrs, Marguerite Storrs, and the Storrs family.
Scope and Contents:
The papers of sculptor, painter, and printmaker John Henry Bradley Storrs measure 20.44 linear feet and date from 1790 to 2007, with the bulk of the papers dating from 1900 to 1956. The collection documents Storrs' career as an artist and his personal life through biographical material, correspondence with family, friends, and colleagues, personal business records, forty-eight diaries and other writings, printed material, photographs of Storrs and his family and friends, artwork, scrapbooks, estate records, and video recordings. There is also a substantial amount of Marguerite Storr's correspondence as well as scattered correspondence of other members of the Storr's family.

Biographical material consists of chronologies detailing the life of John Storrs, identification records, certificates, Storrs family documents, and records of John and Monique Storrs' French resistance activities during World War II.

Correspondence within this collection is divided into John Storrs Correspondence, Marguerite Storrs Correspondence, and Storrs Family Correspondence. The bulk of correspondence is John Storrs with friends, colleagues, art critics, patrons, art organizations and galleries. Correspondents of note include artists, architects, and writers such as Hendrick Andersen, Sherwood Anderson, Edward Bennett, George Biddle, Jerome Blum, Georges Braque, Louise Bryant, William Bullitt, Alexander Calder, Walter Cole, Paul Phillippe Cret, Katherine Dreier, Marcel Duchamp, Max Eastman, R. Buckminster Fuller, Marsden Hartley, Jane Heap, Jean Helion, Fernand Leger, Jacques Lipchitz, Man Ray, Charles Sheeler, Gertrude Stein, Joseph Stella, Maurice Sterne, Alfred Stieglitz, Leopold Survage, and William and Marguerite Zorach. There are also many letters to his wife Marguerite.

Marguerite Storrs' correspondence is with friends, family, colleagues, and others, including many letters to her husband. The letters are about general and family news, social activities and invitations, her work as a writer, and her husband's career. Storrs' family correspondence includes John and Marguerite's extensive correspondence with their daughter Monique as well as Monique's correspondence with others. Additional family correspondence is between John, his sister Mary ("Mae") and their parents David William and Hannah Storrs, much of it dating from 1900 to 1913.

Personal business records include address books, records regarding the sale and loan of Storrs' artwork, commission files regarding major public sculptures by Storrs, contracts, appraisals, financial records, and other documents regarding his professional activities. Of note are several files documenting Downtown Gallery's representation of Storrs' work during the 1960s, including correspondence between Edith Halpert and Monique Storrs. Various other documents include records of the Ecole de la Loire artists group (all in French.) Additionally there are records relating to Chateau de Chantecaille, an estate purchased by Storrs in the early 1920s as his primary residence and studio.

Forty-eight diaries contain scattered documentation of John Storrs' daily activities. Other writings by Storrs include four volumes of his memoirs that detail family history and his life from birth to 1906, notebooks, poetry, and personal accounts including the death of Auguste Rodin. Writings by others include poetry by Jessie Dismorr, essays by Zoltan Hecht and Maurice Raynal, and notebooks belonging to Storrs family members.

Printed material consists of books, art bulletins, brochures, invitations, announcements, and programs for art and social events. Also found are catalogs for exhibitions of Storrs' work and work by other artists; magazines, including a bound volume of the first ten issues of The Liberator; and clippings which include news about Storrs, his family, and friends.

Photographs depict John Storrs, his family, friends such as Arthur Bock and Gertrude Lambert, travels, and residences. Included are photographs of Storrs in his studio and in art classes. Also found are four photograph albums, primarily documenting his time in Europe from 1905 to 1907, exhibition photographs, and numerous photographs of his artwork.

Original artwork includes a portfolio of artwork created by Storrs as a youth, loose sketches, one sketchbook, 31 lithographs, and drawings for mural projects.

Four scrapbooks and a portfolio kept by John and Marguerite Storrs contain newspaper and magazine clippings of articles and illustrations as well as printed material from exhibitions, social events, and professional activities. Also found is a portfolio containing scattered items regarding the publication of Song of Myself with original wood engravings by John Storrs. One additional scrapbook was created by John Storrs around 1945 for his daughter, Monique Storrs, to document her service as a nurse in World War II.

This collection also includes records of John Storrs' estate immediately following his death in 1956, as well as records of several galleries that represented the estate in managing Storrs' artwork from the 1970s to 2002.

Three videocassettes, transferred from an unknown reel format, contain footage of Storrs' family life at Chantecaille and in Chicago, Illinois, in the 1930s.
Arrangement:
The collection is arranged as 11 series.

Some box and folder numbers in the container listing intentionally display out of sequence. An accretion was added in 2012 and integrated into the intellectual order, but not into the physical container order. Glass plate negatives are housed separately and closed to researchers.

Series 1: Biographical Material, 1837, 1860-1984 (Box 1, 20, 25, OV 23; 0.6 linear feet)

Series 2: Correspondence, 1857-2007 (Box 1-7, 25; 5.8 linear feet)

Series 3: Personal Business Records, 1790, 1855-1987 (Box 7-9, 25, OV 24, 28; 2.9 linear feet)

Series 4: Diaries, 1874-1955 (Box 9-10; 0.9 linear feet)

Series 5: Writings, 1888-1989 (Box 10-11, 25; 1.1 linear foot)

Series 6: Printed Material, 1867-1987, 2005 (Box 11-14, 25, OV 24; 3.6 linear feet)

Series 7: Photographs, circa 1885-1980 (Box 14-16, 18, 20-22, 25, MGP 1, MGP 2, MGP 5, MGP 6; 3.2 linear feet)

Series 8: Artwork, 1895-1935 (Box 18, 20, OV 23; 0.5 linear feet)

Series 9: Scrapbooks, 1895-1963 (Box 18-21, 25; 0.7 linear feet)

Series 10: Estate Records, 1956-2002 (Box 26; 0.4 linear feet)

Series 11: Video Recordings, circa 1980s (Box 26-27; 0.2 linear feet)
Biographical / Historical:
John Henry Bradley Storrs (1885-1956) worked primarily in Chicago, Illinois, and Mer, France, as a sculptor, painter, and printmaker.

John Storrs was born in 1885 in Chicago, Illinois, to David William Storrs, an architect, and Hannah Bradley Storrs. Upon completing his schooling in 1905 he went to Berlin with the intention of studying music, but instead chose to study sculpture with the Arthur Bock in Hamburg, Germany. He also spent time in Paris and traveled throughout Europe, Turkey, and Egypt, returning to the US in late 1907. Storrs took night classes at the Art Institute of Chicago, followed by periods of study at the School of the Museum of Fine Arts, Boston, with Bela Pratt, and at the Pennsylvania Academy of the Fine Arts with Charles Grafly. In 1912 he returned to Paris where he studied at the Académie Julian and with the famous sculptor Auguste Rodin. During this period his work was greatly influenced by cubism and futurism. In 1914 he married French writer Marguerite Deville-Chabrol. After briefly returning to the US to exhibit his work, Storrs worked at a hospital in Paris throughout World War I and in 1918 his daughter Monique was born. He and his family settled in Mer, France, at the Chateau de Chantecaille in 1921.

The following two decades were very productive for Storrs and he frequently travelled between the US and France to exhibit and create work. He showed in many notable exhibits such as the Société Anonyme's International Exhibition of Modern Art in New York in 1926, and he completed several commissions such as a statue for the Chicago Board of Trade in 1929. During this time Storrs completely moved away from representational work and refined his non-objective, machine-like sculpture. Besides sculpture, he also produced many paintings, woodcuts, lithographs, and other works on paper. He created works for the Century of Progress International Exposition in 1933 and also worked for the Public Works of Art Project in 1934.

During World War II Storrs was twice arrested and imprisoned by the German occupation forces, once for six months from 1941 to 1942 and again in 1944 along with his daughter Monique who was part of the French Resistance. These events greatly impacted his health and he produced very little work in the late 1940s and 1950s. He continued to exhibit his work and was also president in 1954 of the Ecole de la Loire, a group of 75 artists working in the Loire Valley. John Storrs died in 1956.
Related Materials:
Also available at the Archives of American Art is the Noel Frackman research material on John Henry Bradley Storrs, 1972-2003. In addition, Archives of American Art microfilm reels 1463 and ND/S-1 contain the John Henry Bradley Storrs scrapbook and studio book, 1909-1972.
Separated Materials:
The Booz family also loaned approximately 1,000 drawings by John Storrs and select family photographs for microfilming. Loaned material is available for viewing on reel 1555, but is not described in this container listing of this finding aid.
Provenance:
The John Henry Bradley Storrs papers were donated in several installments from 1979 to 1987 by Storrs' daughter, Monique Storrs Booz, and her daughter, Michelle Storrs Booz. A portion of these papers were loaned for microfilming in 1977 and subsequently donated in 1980. Additional papers were donated by Michelle Storrs Booz in 2011.
Restrictions:
Use of original papers requires an appointment. Glass plate negatives are housed separately and closed to researchers.
Rights:
The John Henry Bradley Storrs papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Expatriate artists -- France  Search this
Artists' studios -- France -- Paris -- Photographs  Search this
Painters -- Illinois -- Chicago  Search this
Painters -- France -- Paris  Search this
Printmakers -- Illinois -- Chicago  Search this
Printmakers -- France -- Paris  Search this
Sculpture, Modern -- 20th century  Search this
Sculptors -- Illinois -- Chicago  Search this
Sculptors -- France -- Paris  Search this
World War, 1939-1945 -- France  Search this
World War, 1939-1945 -- Underground movements  Search this
Genre/Form:
Scrapbooks
Photographs
Poems
Diaries
Sketches
Video recordings
Sketchbooks
Prints
Portfolios (groups of works)
Citation:
John Henry Bradley Storrs papers, 1890-2007, bulk 1900-1956. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.storjohn
See more items in:
John Henry Bradley Storrs papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-storjohn
Online Media:

Judith Zilczer papers

Creator:
Zilczer, Judith  Search this
Names:
Armory Show (1913: New York, N.Y.)  Search this
Hirshhorn Museum and Sculpture Garden  Search this
Whitney Museum of American Art  Search this
Benton, Thomas Hart, 1889-1975  Search this
Coady, Robert J., 1881-1921  Search this
Dasburg, Andrew, 1887-1979  Search this
Dawson, Manierre, 1887-1969  Search this
Hartley, Marsden, 1877-1943  Search this
Hartmann, Sadakichi, 1867-1944  Search this
Linder, Richard  Search this
Munson, Gorham Bert, 1896-1969  Search this
Quinn, John, 1870-1924  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
0.4 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Date:
1910-1995
bulk 1973-1995
Summary:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.
Scope and Contents:
The papers of curator, art historian, and author Judith Zilczer measure 0.4 linear feet and date from 1910-1995, with the bulk of material dated 1973-1995. The papers contain project files and related correspondence, unpublished manuscripts, photographs, and printed material documenting her research as an independent art historian.

This collection documents the correspondence and research of Judith Zilczer pertaining to her doctoral dissertation, The Aftermath of the Armory Show, 1913-1918, where she examines the arguments of both artists and critics over the question of abstraction in art during the early period of the twentieth century. Research files include information on Sadakichi Hartmann, Thomas H. Benton, Manierre Dawson, Andrew Dasburg, John Quinn, Alfred Stieglitz, Michael Brenner, Robert J. Coady and Gorham Munson. Project files document Synchromism, the Forum Exhibit and the Hartley Symposium at the Whitney Museum of American Art and the Richard Lindner Exhibition at the Hirshhorn Museum. Written transcripts include "Robert J. Cody, Man of the Soil" and "Musical Analogy". Researchers should note that this collection does not include a copy of her doctoral thesis.
Arrangement:
The collection is arranged as 2 series.

Series 1: Project Files, 1910-1995 (Box 1; 21 folders)

Series 2: Writings, circa 1980s (Box 1; 3 folders)
Biographical / Historical:
Judith Zilczer (1948-) was an art historian, author, and Curator Emerita of the Hirshhorn Museum and Sculpture Garden in Washington D.C. She organized more than two dozen exhibitions in her twenty-nine years at the museum, where she served as Historian, Curator of Paintings, and Acting Chief Curator. Her exhibition publications include Willem de Kooning from the Hirshhorn Museum Collection (1993), Richard Lindner: Paintings and Watercolors, 1948-1977 (1996), and Visual Music: Synaesthesia in Art and Music Since 1900 (2005). A 1975 graduate of the doctoral program of the University of Delaware, she wrote her thesis on The Aftermath of the Armory Show 1913-1918. She has received numerous awards, including the 2006 George Wittenborn Memorial Book Award of the Art Libraries Society of North America. Dr. Zilczer has written and lectured widely on modern and contemporary art and is a leading authority on the art of Willem de Kooning.
Related Materials:
Also found in the Archives of American Art is an oral history interview with Paul Allen Reed conducted by Judith Zilczer, April 29, 1994.

Additionally, Papers relating to art commissioned for the Ronald Reagan Building and International Trade Center, 1992-1998, donated by Judith Zilczer, can be found at Archives of American Art.

The Smithsonian Institution Archives in Washington, D.C. holds a large collection of Judith K. Zilczer Papers, 1975-2003.
Provenance:
Creator Judith Zilczer donated her papers to the Archives of American Art in 2014.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center.
Occupation:
Authors -- Washington (D.C.)  Search this
Curators -- Washington (D.C.)  Search this
Topic:
Art, Abstract  Search this
Art, Modern -- 20th century  Search this
Art historians -- Washington (D.C.)  Search this
Synchromism (Art)  Search this
Genre/Form:
Photographs
Citation:
Judith Zilczer papers, 1910-1995, bulk 1973-1995. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.zilcjudt
See more items in:
Judith Zilczer papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-zilcjudt
Online Media:

Max Weber papers

Creator:
Weber, Max, 1881-1961  Search this
Names:
American Artists' Congress  Search this
Forum Gallery (New York, N.Y.)  Search this
Biddle, George, 1885-1973  Search this
Davies, Arthur B. (Arthur Bowen), 1862-1928  Search this
Gropper, William, 1897-1977  Search this
Gross, Chaim, 1904-1991  Search this
Hartley, Marsden, 1877-1943  Search this
Kent, Rockwell, 1882-1971  Search this
Kroll, Leon, 1884-1974  Search this
Newman, Barnett, 1905-1970  Search this
Soyer, Raphael, 1899-1987  Search this
Zorach, William, 1887-1966  Search this
Extent:
11.8 Linear feet
Type:
Collection descriptions
Archival materials
Photographs
Sound recordings
Motion pictures (visual works)
Date:
1902-2008
Summary:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.
Scope and Content Note:
The papers of New York painter and sculptor Max Weber measure 11.8 linear feet and date from 1902-2008. The collection documents Weber's career as an artist through scattered biographical material; correspondence with artists, curators, universities, arts organizations, and others; exhibition and gallery files; personal business records; writings by Weber and others; exhibition catalogs, news clippings, and other printed material; photographs of Weber, exhibitions, and works of art; audio recordings and motion picture films. Also included are records maintained by Joy Weber on the exhibition and sale of Weber's work after his death.

Biographical material includes biographical summaries, obituaries, award certificates, and a small amount of family memorabilia. Weber's personal and professional correspondence includes discussions of exhibitions, sales, and donations of his work, as well was requests to teach, write, or lecture. Also found is correspondence with arts organizations, clubs, and committees in which he participated. A small amount of family correspondence is also included. Artists that Weber corresponded with include George Biddle, Arthur Davies, William Gropper, Chaim Gross, Marsden Hartley, Rockwell Kent, Leon Kroll, Barnett Newman, Raphael Soyer, and William Zorach, among many others. Weber also corresponded with many art historians and critics, gallery owners, and art patrons. Joy Weber's correspondence primarily concerns the exhibition, loan, sale, and authentication of her father's artwork.

Exhibition files document various solo and group exhibitions of Weber's work. Five reels of motion picture film include footage of an exhibition at the Forum Gallery in 1975. Gallery files include correspondence, inventories, sales and loan records, gallery publications, and other documentation. Most files for exhibitions and galleries were created by Joy Weber after Max Weber's death in 1961. Personal business records include documents on sales, loans, and gifts of Max Weber's artwork; scattered financial documents; and mortgage and property records. Also found are files regarding his participation in the American Artists' Congress and art juries. Weber's writings primarily concern art theory, impressions of other artists, and social and political issues. Additionally there are notes, drafts speeches, and writings by others about Weber.

Printed material is extensive and includes exhibition publications, press releases, and two published booklets written by Weber: "Art Consciousness" and "Things." Also found are news clippings, brochures, newsletters, and publications produced by art organizations, schools, and museums. Photographs include portraits and snapshots of Weber, depicting him working in his studio, participating in art juries, at art openings, and with his family. Photographs also depict installation views of exhibitions and numerous photographs of Weber's artwork. Audiovisual materials include one sound recording of a National Gallery program on Max Weber and five reels of motion picture film that include home movies and footage of an exhibition at the Forum Gallery in 1975.
Arrangement:
The collection is arranged as 9 series:

Series 1: Biographical Material, 1905-1995 (Box 1; 10 folders)

Series 2: Correspondence, 1902-2007 (Box 1-5; 4.2 linear feet)

Series 3: Exhibition Files, 1919-2003 (Box 5-6; 0.7 linear feet)

Series 4: Gallery Files, 1926-2005 (Box 6-7; 0.9 linear feet)

Series 5: Personal Business Records, 1906-2006 (Box 7; 0.8 linear feet)

Series 6: Writings, circa 1910s-1999 (Box 7-8; 0.6 linear feet)

Series 7: Printed Material, 1909-2008 (Box 8-10, 12; 2.6 linear feet)

Series 8: Photographs, 1930s-circa 2000 (Box 10-11; 1.1 linear feet)

Series 9: Audiovisual Material, 1954-2000 (Box 11, FC 13-17; 0.7 linear feet)
Biographical Note:
Max Weber (1881-1961) was a painter and sculptor in New York City.

Weber was born in Bialystok, Russia. When he was ten years old his family moved to Brooklyn, New York. From 1898 to 1900 he attended Pratt Institute and studied theory and practice of design under Arthur Wesley Dow. After graduating he briefly taught drawing in Lynchburg, Virginia, and Duluth, Minnesota. In 1905 he moved to Paris to attend the Académie Julian, studying under Jean-Paul Laurens, and later attended classes at the Académie Colarossi and Académie de la Grande Chaumiere. In 1907 he attended Henri Matisse's studio class. The influence of Matisse and friend Henri Rousseau transformed Weber's painting style to include elements of cubism and fauvism.

Weber returned to New York in 1909, and over the next few years he frequently exhibited at Alfred Stieglitz's gallery 291. Initially his work was panned by American critics for being too modern. Despite criticism, Weber exhibited his work extensively in the 1910s and also began creating abstract sculptures. In 1914 he helped his friend Clarence H. White open the White School of Photography and taught art history there for four years. Also in 1914 his Cubist Poems were published in London. His second book of poetry Primitives was published in 1926.

In 1916 Weber married Frances Abrams. He began to explore narrative subjects in his paintings and in 1918 began carving woodblock prints. He also taught at the Art Students League for the 1919-1921 and 1926-1927 sessions. By the early 1920s he was recognized as an important American artist, serving as a leader in art organizations such as the Society of Independent Artists. In 1930 Weber became the first American modernist to have a retrospective exhibition at the Museum of Modern Art.

In the 1930s Weber became more active in political and socialist causes, participating in many organizations throughout the Depression and World War II. In 1937 he became the National Chairman of the American Artists' Congress. By the 1940s, his work was widely known and influenced a new generation of American painters. He continued to exhibit extensively, received many awards, such as the Temple Gold Medal at the Pennsylvania Academy of Fine Arts, and often served on art juries. In 1955 he was elected to the National Institute of Arts and Letters and received an honorary doctorate from Brandeis University. He died in Great Neck, New York, in 1961.
Related Material:
Also found at the Archives of American Art is an Allen L. Wetmore letter from Max Weber, April 15, 1946.
Separated Material:
Material lent for microfilming in 1959 and 1969 which was not included in the 2011 donation is available on microfilm reels NY59-6 to NY59-10, N69-82 to N69-88, and N69-112.
Provenance:
Material was lent for microfilming in 1959 by Max Weber and in 1969 by Mrs. Max Weber and daughter, Joy Weber. The bulk of the microfilmed material and additional papers were donated in 2011 by Joy Weber.
Restrictions:
Use of original papers requires an appointment. Use of archival audiovisual recordings with no duplicate access copy requires advance notice.
Rights:
The Max Weber papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art, American  Search this
Sculptors -- New York (State) -- New York  Search this
Artists' studios -- Photographs  Search this
Painters -- New York (State) -- New York  Search this
Painting, American  Search this
Genre/Form:
Photographs
Sound recordings
Motion pictures (visual works)
Citation:
Max Weber papers, 1902-2008. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.webemax
See more items in:
Max Weber papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-webemax
Online Media:

Arnold Rönnebeck and Louise Emerson Ronnebeck papers

Creator:
Ronnebeck, Arnold, 1885-1947  Search this
Names:
Demuth, Charles, 1883-1935  Search this
Hartley, Marsden, 1877-1943  Search this
Luhan, Mabel Dodge, 1879-1962  Search this
Luhan, Tony  Search this
Miller, Kenneth Hayes, 1876-1952  Search this
Ronnebeck, Louise Emerson, 1901-1980  Search this
Stieglitz, Alfred, 1864-1946  Search this
Extent:
4.24 Linear feet
Type:
Collection descriptions
Archival materials
Sketches
Drawings
Scrapbooks
Photographs
Date:
1884-2002
Summary:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.
Scope and Content Note:
The papers of sculptor Arnold Rönnebeck and painter Louise Emerson Ronnebeck measure 4.24 linear feet and date from 1884-2002. The collection contains biographical material, family and professional correspondence, sketches and drawings, writings, a scrapbook, and printed material. There are also numerous photographic prints, copy prints, negatives, and 7 glass plate negatives of the Rönnebecks and their artwork, travels, family, and friends, including Charles Demuth, Marsden Hartley, Alfred Stieglitz, and Tony Luhan.

Biographical materials include articles on the Rönnebecks by Betsy Fahlman, curriculum vitae, and documentation on the Emerson family. Correspondence is primarily between Arnold Rönnebeck to Louise, and also includes letters in German to Arnold's sister Irmgard Rönnebeck. Among the professional and personal correspondence from friends and family to both of the Rönnebecks are letters from Kenneth Hayes Miller to Louise Ronnebeck.

Writings include essay drafts, notes, and poetry by the Rönnebecks, including Arnold Rönnebeck's "Paint-As-You-Go Plan." There is a scrapbook of clippings covering Louise Ronnebeck's work. Additional printed material includes Christmas cards, clippings, and exhibition announcements and catalogs of both the Rönnebecks' work. Artwork consists of drawings and sketches by Arnold Rönnebeck.

Photographic materials include photographs of the Rönnebecks and their travels to Arizona, Colorado, New Mexico, New York, and Europe. The series also contains photos, copy prints, negatives, and 7 glass plate negatives of artist friends, and formal and informal documentation of their works of art and public and private art commissions.
Arrangement:
The collection is arranged as 7 series.

Series 1: Biographical Materials, 1926-2002 (9 folders; Box 1, OV 7)

Series 2: Correspondence, 1909-1998 (0.6 linear feet; Box 1, 5)

Series 3: Writings, 1920-1944 (6 folders; Box 1, 5)

Series 4: Scrapbook, 1926-1966 (1 folder; Box 1)

Series 5: Printed Material, 1923-1999 (0.5 linear feet; Box 1-2)

Series 6: Artwork, 1915-1950 (2 folders; Box 2, 5)

Series 7: Photographic Materials, 1884-1976 (2.6 linear feet; Box 2-6)
Biographical Note:
Sculptor Arnold Rönnebeck (1885-1947) was part of the "Stieglitz circle" and settled in Denver where he served as director of the Denver Art Museum from 1926-1931. Rönnebeck married Louise Emerson (1901-1980) in 1926. Emerson was a painter and muralist who worked on New Deal mural commissions in Colorado and Wyoming.

Arnold Rönnebeck was born in Nassau, Germany and was a noted sculptor and lithographer. From 1905 to 1907, Rönnebeck studied architecture at the Royal Art School in Berlin and spent a year studying sculpture in Munich. In 1908, he moved to Paris where he furthered his studies in sculpture under Aristede Maillol and Emile Bourdelle. From 1914 to 1918, Rönnebeck served as an officer in the German Imperial Army during World War I. In 1923, he emigrated to the United States where he became part of the Stieglitz circle.

In 1925, Rönnebeck visited Mabel Dodge Luhan at her ranch in Taos, New Mexico, where he met his future wife, the painter Louise Emerson, born Mary Louise Harrington Emerson in 1901. After their marriage, the Rönnebecks lived in Denver where Arnold Rönnebeck worked as director of the Denver Art Museum and continued to execute commissioned works, including bas reliefs, portrait busts, and sculptures. He died in Denver, Colorado in 1947. Throughout the 1950s and 1960s, Louise Emerson Ronnebeck continued to receive commissions for frescoes and murals in Colorado and Bermuda and died in Denver, Colorado in 1980.
Related Material:
Correspondence between Arnold Rönnebeck and Alfred Stieglitz and Marsden Hartley is located at the Beinecke Rare Book and Manuscript Library at Yale University.
Provenance:
The papers were donated in 2001 by Ursula Moore Works and Arnold Rönnebeck, the artists' daughter and son.
Restrictions:
Use of original papers requires an appointment.
Rights:
The Arnold Rönnebeck and Louise Emerson Ronnebeck papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Sculptors  Search this
Muralists  Search this
Artists -- New Mexico -- Taos  Search this
Portrait sculpture  Search this
Women artists  Search this
Genre/Form:
Sketches
Drawings
Scrapbooks
Photographs
Citation:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers, 1884-2002. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.ronnarno
See more items in:
Arnold Rönnebeck and Louise Emerson Ronnebeck papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-ronnarno
Online Media:

Elizabeth McCausland papers

Topic:
Springfield Republican
Creator:
McCausland, Elizabeth, 1899-1965  Search this
Names:
American Art Research Council  Search this
Barnard College -- Faculty  Search this
Federal Art Project (U.S.)  Search this
United States. Farm Security Administration  Search this
Abbott, Berenice, 1898-1991  Search this
Dove, Arthur Garfield, 1880-1946  Search this
Hartley, Marsden, 1877-1943  Search this
Hawthorne, Charles Webster, 1872-1930  Search this
Henri, Robert, 1865-1929  Search this
Henry, Edward Lamson, 1841-1919  Search this
Hine, Lewis Wickes, 1874-1940  Search this
Inness, George, 1825-1894  Search this
Kleinholz, Frank, 1901-  Search this
Lawrence, Jacob, 1917-2000  Search this
Maurer, Alfred Henry, 1868-1932  Search this
Morgan, Barbara Brooks, 1900-  Search this
Stieglitz, Alfred, 1864-1946  Search this
Weegee, 1899-1968  Search this
Weston, Edward, 1886-1958  Search this
Extent:
45 Linear feet
Type:
Collection descriptions
Archival materials
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Place:
New York N.Y. -- Pictorial works -- photographs
Date:
1838-1995
bulk 1920-1960
Summary:
The papers of art critic, writer, and historian Elizabeth McCausland measure 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1960. The collection provides a vast accumulation of research data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material donated later from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.
Scope and Content Note:
The papers of art critic, writer, and historian Elizabeth McCausland measure approximately 45 linear feet and date from 1838 to 1995, with the bulk of the material dating from 1920 to 1995. The collection provides a vast accumulation of data on various artists and aspects of American art, especially the early American modernists and the Federal Arts Projects. Papers include McCausland's extensive research and writing files, particularly on Marsden Hartley, E. L. Henry, Lewis Hine, George Inness, and Alfred H. Maurer. McCausland's correspondence with artists includes a substantial amount with Arthur Dove and Alfred Stieglitz. Her collaborative work with Berenice Abbott on the Changing New York book and series of photographs is well-documented within the collection. Also found are general writings, subject files, files relating to exhibitions, teaching, and committees, photographs, art work, personal papers, and printed material. Additional McCausland material from the estate of Berenice Abbott include biographical materials, project files, writings, and printed materials.

McCausland's personal papers consist of appointment books and engagement calendars, scrapbooks, student papers, works printed on her private press, financial records, biographical material, and scattered memorabilia, which together document other aspects of her life apart from her work. Correspondence includes incoming and outgoing letters along with enclosures, dating from McCausland's time as a journalist for The Springfield Republican in the 1920s and 1930s to her time as a freelance writer, art critic, and historian (1940s-1960s) and mostly concerning professional matters. Also included is a substantial amount of correspondence with artists, particularly Arthur Dove and Alfred Stieglitz, and some personal correspondence with her mother. General writings consists primarily of copies of McCausland's speeches and lectures on various art topics in addition to her early poems (dating from the 1930s) and scattered essays and articles.

The most extensive part of the collection is comprised of McCausland's research and writing files pertaining to large research and curatorial projects, such as ones on the artists Alfred H. Maurer and Marsden Hartley (which was begun by the American Art Research Council and subsequently taken over by McCausland), and one for the American Processional exhibition at the Corcoran Gallery in 1950. A wide variety of smaller projects are also well-documented in the series Other Research and Writing Files, including ones on E. L. Henry, Lewis Hine, George Inness, her collaborative work with Berenice Abbott on the Changing New York book and series of photographs. Numerous other artists and art topics are covered as well, such as Arthur Dove, Robert Henri, Jacob Lawrence, Charles Hawthorne, film, and photography. Files for her book Careers in Art (1950), her many speaking and lecture engagements, and editing work are also found in this series. Files consist primarily of correspondence, notes, research material, manuscripts, bibliographies, photographs of works of art, completed research forms for works of art, card index files, and printed material.

Also found are subject files containing printed material, scattered notes and correspondence, and photographs, which may have been used for reference and/or collected in the course of McCausland's research activities; files relating to various exhibitions organized by McCausland from 1939 to 1944, including ones of silk screen prints and modern photography; files relating to courses on art history taught by McCausland, especially the one she taught at Barnard College in 1956; and files stemming from her participation in various art organizations and committees, especially during the time period just before and during the Second World War.

Printed material consists primarily of clippings and tear sheets of McCausland's newspaper articles and columns, which document her contributions to The Springfield Republican from 1923 to 1946, in addition to scattered exhibition catalogs, announcements, books, and miscellaneous publications. Photographs include ones of various artists and works of art, ones from the Farm Security Administration, and ones by photographers, such as Berenice Abbott (including ones from the Federal Art Project book, Changing New York), Barbara Morgan, Weegee, and Edward Weston, among others. Photographs, sometimes annotated or including notes, are scattered throughout her research files. Also included are photographs of McCausland, dating from her childhood. Art work found in the collection includes drawings, prints, and watercolors that were either given to McCausland by the artist or collected by her in the course of her work as an art critic and historian.

Additional material belonging to Elizabeth McCausland and donated by the estate of Berenice Abbott includes biographical material; business and personal correspondence; professional project files and writings, including drafts and research materials related to the book projects Art in America, Conversations with March, and Frank Kleinholz; and printed materials, including reprints of critical essays and articles by McCausland.
Arrangement:
The collection is arranged as 15 series:

Series 1: Personal Papers, 1838, 1920-1951 (Boxes 1-2, 34; 1.5 linear feet)

Series 2: Correspondence, 1923-1960 (Boxes 2-5; 2.9 linear feet)

Series 3: General Writings, circa 1930-1954 (Boxes 5-6; 0.9 linear feet)

Series 4: Alfred H. Maurer, 1851-1951, bulk 1948-1950 (Boxes 6-9; 3.7 linear feet)

Series 5: American Processional, 1949-1951 (Boxes 10-11; 1.8 linear feet)

Series 6: Marsden Hartley, 1900-1964, bulk 1944-1964 (Boxes 11-21, OV 37; 10 linear feet)

Series 7: Other Research and Writing Files, 1896, 1926-1958 (Boxes 21-25, 31; 4.6 linear feet)

Series 8: Subject Files, 1927-1954 (Boxes 25-26; 1.0 linear feet)

Series 9: Other Exhibition Files, 1939-1941, 1944 (Box 26; 0.1 linear feet)

Series 10: Teaching Files, 1939-1965 (Box 27; 0.5 linear feet)

Series 11: Committee Files, 1936-1960 (Box 27; 0.5 linear feet)

Series 12: Printed Material, 1923-1953 (Boxes 28-32, 34, OV 38, BV 44-47; 4.6 linear feet)

Series 13: Photographs, circa 1905-1950 (Boxes 32-36, OV 37; 1.4 linear feet)

Series 14: Art Work, 1887-1942 (Boxes 33-34, OV 39-43; 0.7 linear feet)

Series 15: Elizabeth McCausland Material from the Estate of Berenice Abbott, 1920-1995 (Boxes 48-53; 5.4 linear feet)
Biographical Note:
Elizabeth McCausland, the art critic and writer, was born in Wichita, Kansas in 1899. She attended Smith College, receiving her Bachelor's degree in 1920 and her Master's in 1922. Beginning in 1923, she worked as a general reporter for The Springfield Republican (Springfield, Massachusetts). After several years, she began to review art exhibitions and soon became an established art critic. In the course of her work, she began to develop friendships with artists, such as Alfred Stieglitz and Arthur Dove. During these early years, she also wrote poetry and designed and printed limited edition publications on her private press.

McCausland moved to New York in 1935, but continued to contribute a weekly art column to The Springfield Republican until it suspended publication in 1946. From the mid-1930s on, she worked primarily as a freelance writer and art critic, contributing articles to publications such as Parnassas, The New Republic, and Magazine of Art. In the latter part of her career, her writings focused more on art history and special studies on artists.

In the late-1930s, McCausland collaborated with the photographer Berenice Abbott on the Federal Art Project book, Changing New York, for which she provided the text to Abbott's now-famous photographs of New York City neighborhoods, architecture, and street scenes. She studied and wrote about photography, including numerous articles on the photographer Lewis Hine (of whose work she organized a retrospective exhibition at the Riverside Museum in 1939), and was appointed to the Advisory Committee of the Museum of Modern Art's Department of Photography in 1944.

McCausland went on to organize other exhibitions, including a show of contemporary work, "The World of Today" (Berkshire Museum, 1939), shows of silk screen prints (Springfield Museum of Fine Arts, March 1940 and New York State Museum, Summer 1940), and a photography show, "Photography Today" (A.C.A. Gallery, 1944). In the late 1930s, she embarked upon a study of "the status of the artist in America from colonial times to the present, with especial attention to the relation between art and patronage," which continued over twenty years (and was never completed) and for which she received a Guggenheim fellowship in 1943.

In addition to her other writing, during the 1940s, McCausland carried out studies on the artists, E. L. Henry and George Inness, which resulted in exhibitions at the New York State Museum in 1942 and the George Walter Vincent Smith Art Museum in 1946, respectively and publications (a report on Henry and a book on Inness). From 1948 to 1949, she carried out an extensive study of the painter, Alfred H. Maurer, organizing an exhibition, "A. H. Maurer: 1868-1932," which showed at the Walker Art Center and the Whitney Museum of American Art in 1949, and publishing the biography, A. H. Maurer, in 1951. In 1950, she worked as a special consultant on the American Processional exhibition at the Corcoran Gallery and as editor of the accompanying book. Shortly thereafter, she began a study of Marsden Hartley for a monograph, which was published in 1952, and she helped organize the Hartley exhibition at the University of Minnesota that same year. She continued the Hartley study on larger scale for a planned biography and catalogue raisonne; although she continued to work on it off and on for the next decade, the project was never completed.

McCausland published other books, including Careers in the Arts (1951), and undertook other research and consulting projects, such as photo-editing Carl Sandburg's Poems of the Midwest (1946), conducting surveys of art and advertising for an article in Magazine of Art and of art education for Cooper Union Art School, and contributing yearly articles on art to various encyclopedias. At different times throughout her career, she supplemented her income by taking teaching positions. She taught courses on art history at Sarah Lawrence College from 1942 to 1944 and at Barnard College in 1956, as well as courses at the Design Laboratory (1939) and the New School for Social Research (1946). She also gave numerous lectures and speeches on various art topics, and regularly participated in conferences and symposiums. Towards the end of her career, she was publishing less, but was still involved in many projects, most notably the Hartley study.

McCausland was a tireless promoter of the arts, and often an advocate for artists. Even though her work was well-known among certain art circles, she never received the recognition as a writer that she deserved. Nor was she ever able to free herself from the pressure of writing for a living. Continually suffering from poor health, she died on May 14, 1965.
Related Material:
Related material found in the Archives includes a sound recording from a symposium on Marsden Hartley, of which McCausland was a participant, held at the Portland Museum of Art in 1961. The Frank Kleinholz papers contain a recorded interview of McCausland done in 1944-1945 for radio station WNYC. Some of McCausland's correspondence is found in the G. Alan Chidsey papers; Chidsey served as a trustee of the Marsden Hartley estate.
Separated Material:
Material separated from the collection includes some issues of Camera Work (Vol. 30, 47, 49/50), which were combined with other issues in an artificial collection created by the Archives at some earlier point.
Provenance:
Elizabeth McCausland donated the bulk of her papers in several installments from 1956 to 1961. An unknown donor, perhaps her literary executor, donated additional papers sometime after her death in 1965. It appears that McCausland originally donated her research files on Marsden Hartley, measuring 10 linear feet, to the Whitney Museum, who then lent them to the Archives for microfilming in 1966, and donated them sometime thereafter. McCausland originally donated files of newspaper clippings and offprints of her articles to the The New York Public Library, who gave them to the Archives in 1968. Additional McCausland material from the estate of Berenice Abbott was donated to the Archives in 2009.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C. Research Center. Contact Reference Services for more information.
Rights:
The Elizabeth McCausland papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Art historians -- New York (State) -- New York  Search this
Federal aid to the arts  Search this
Art criticism -- United States  Search this
Documentary photography -- United States  Search this
Authors -- New York (State) -- New York  Search this
Art -- Exhibitions -- United States  Search this
Art -- History -- Study and teaching  Search this
Art, Modern -- 20th century -- United States  Search this
Art -- Societies, etc. -- United States  Search this
Modernism (Art) -- United States  Search this
Art, American  Search this
Art critics -- New York (State) -- New York  Search this
Genre/Form:
Scrapbooks
Prints
Drawings
Photographs
Watercolors
Citation:
Elizabeth McCausland papers, 1838-1995, bulk 1920-1960. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.mccaeliz
See more items in:
Elizabeth McCausland papers
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-mccaeliz
Online Media:

Macbeth Gallery records

Creator:
Macbeth Gallery  Search this
Names:
Hartley, Marsden, 1877-1943  Search this
Homer, Winslow, 1836-1910  Search this
Macbeth, Robert W. (Robert Walker), 1884-1940  Search this
Macbeth, William, 1851-1917  Search this
McIntyre, Robert G. (Robert George), b. 1885  Search this
Stuart, Gilbert, 1755-1828  Search this
Weir, Robert Walter, 1803-1889  Search this
Extent:
131.6 Linear feet
Type:
Collection descriptions
Archival materials
Daguerreotypes
Photographs
Scrapbooks
Date:
1947-1948
1838-1968
bulk 1892-1953
Summary:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. Through extensive correspondence files, financial and inventory records, printed material, scrapbooks, reference and research material, and photographs of artists and works of art, the records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.
Scope and Content Note:
The Macbeth Gallery records provide almost complete coverage of the gallery's operations from its inception in 1892 to its closing in 1953. The records document all aspects of the gallery's activities, charting William Macbeth's initial intention to lease his store "for the permanent exhibition and sale of American pictures" through over sixty years of success as a major New York firm devoted to American art. The collection measures 131.6 linear feet and dates from 1838 to 1968 with the bulk of the material dating from 1892 to 1953.

The gallery's correspondence files form the core of the collection and illuminate most aspects of American art history: the creation and sale of works of art, the development of reputations, the rise of museums and art societies, change and resistance to change in the art market, and the evolution of taste. Ninety-five feet of correspondence house substantial and informative letters from dozens of important American painters and sculptors, including older artists and younger contemporaries of the gallery in its later years. There are also letters from collectors, curators, other galleries, and critics.

The financial files found in the collection offer insight into the changing economic climate in which the gallery operated. They include information ranging from the details of individual sales and the market for individual artists, to consignment activities and artist commissions, to overviews of annual sales. This information is augmented by the firm's inventory records and the photographs of artwork with their accompanying records of paintings sold. The inventory records provide details of all works of art handled by the gallery, both sold and unsold, and the buyers who purchased them; the photographs of artwork include images of artwork sold with accompanying sales information.

The highlight of the gallery's printed material is the publication Art Notes. Although published only until 1930, Art Notes provides an excellent and detailed view of the gallery's exhibition schedule and the relationship of the gallery owners with many of the artists whose work they handled. It was a house organ that also provided a running commentary on events in the art world. The gallery's 19 fragile scrapbooks, maintained throughout the firm's history, provide further coverage of activities through exhibition catalogs and related news clippings. Printed material from other sources provides a frame of reference for activities in the art world from the mid-19th to the mid-20th-centuries and includes an almost complete run of the rare and important pre-Civil War art publication The Crayon.

Reference files record the interest which the gallery owners took in the work of early portrait painters and in later artists such as George Inness and Winslow Homer. Together with the immense volume of correspondence with buyers and sellers of paintings by the great portraitists and the Hudson River School found in the gallery's correspondence files, these records are still useful sources of information today and underscore the deep interest that the Macbeths and Robert McIntyre took in 18th and 19th-century American art.

The photographs of artists found here are a treasure trove of images of some of the major figures of the 19th and 20th-centuries. There are photographs of artists such as Chester Beach, Emil Carlsen, Charles Melville Dewey, Frederick Carl Frieseke, Childe Hassam, Winslow Homer, George Inness, Maurice Prendergast, and Julian Alden Weir, many of them original prints and the majority of them autographed.

With the exception of the "The Eight" and a few of their contemporaries, an important aspect of art history, the modernist movement, is generally represented in the Macbeth Gallery records only in a negative form as the three successive proprietors of the gallery showed very little interest in this area. Nevertheless, the collection is a highly significant source of information on many of the major and minor figures in American art in the period after 1890.
Arrangement:
The collection is arranged into eight series:

Series 1: Correspondence, 1838-1968 (Box 1-95, 163-164, OV 165; 96.2 linear feet)

Series 2: Financial and Shipping Records, 1892-1956 (Box 96-110; 11.8 linear feet)

Series 3: Inventory Records, 1892-circa 1957 (Box 111-113; 3.0 linear feet)

Series 4: Printed Material, 1838-1963 (Box 114-119, 162; 5.0 linear feet)

Series 5: Scrapbooks, 1892-1952 (Box 120-130; 3.3 linear feet)

Series 6: Reference Files, 1839-1959 (Box 131-132; 0.6 linear feet)

Series 7: Miscellaneous Files, 1912-1956 (Box 133-134; 0.8 linear feet)

Series 8: Photographs, circa 1880-circa 1968 (Box 135-161; 12.1 linear feet)
Historical Note:
The Macbeth Gallery was established in 1892 by William Macbeth, a Scotch-Irish immigrant who had spent ten years with the print dealer Frederick Keppel before he opened his doors to the art-buying public at 237 Fifth Avenue in New York. Despite the prevailing interest in foreign art at that time, particularly in that of the Barbizon and Dutch schools, Macbeth was determined to dedicate his gallery to "the permanent exhibition and sale of American pictures, both in oil and water colors."

Although some of the gallery's earliest exhibitions were of work by European artists, the business soon became the only gallery in continuous operation to keep American art permanently on display. In the January 1917 issue of Art Notes, Macbeth recounts those early days remembering that "The opening of my gallery......was a rash venture under the existing conditions, and disaster was freely predicted." Nevertheless, he struggled through the financial crisis of 1893 and persisted with his devotion to American art; slowly the market for his pictures grew more amenable.

Macbeth moved to more spacious quarters at 450 Fifth Avenue in 1906 and two years later undertook what was to become the major event in the gallery's early history: the 1908 exhibition of "The Eight," featuring work by Arthur B. Davies, Willam J. Glackens, Robert Henri, Ernest Lawson, George Luks, Maurice Prendergast, Everett Shinn, and John Sloan. "The Eight" were an unlikely combination of social realists, visionaries and impressionists eager to challenge the dominating influence of the National Academy. The exhibition received an immense amount of publicity and instantly entered into art history as a successful assault on tradition.

Despite the splash that the exhibition made and its implications for the future of American art, nothing that the gallery did subsequently indicated that Macbeth intended to capitalize on its significance. It is true that Macbeth supported many artists later considered leaders in American art when the public would pay no attention to them because of their modernist tendencies; Arthur B. Davies, Paul Dougherty, Maurice Prendergast, Theodore Robinson, and F. Ballard Williams all held their first exhibitions at his gallery. Nevertheless, neither Macbeth nor the gallery's two successive proprietors, Robert G. McIntyre (William's nephew) and Robert Macbeth (William's son), who joined the gallery in 1903 and 1906 respectively, ever developed a true interest in modern art. The November 1930 issue of Art Notes summarizes their collective disdain for modernism, stating: "We believe that, by and large, modern art is amusing. We are heretical enough to believe that much of it was started for the amusement of its creators and that no one was more surprised than they when it was taken seriously by a certain audience to whom the bizarre and the unintelligible always makes an appeal." So while the Macbeths and McIntyre cetainly championed American artists and insisted they deserved as much recognition as the Europeans, their deepest and most abiding interest was undoubtedly the established artists of the 18th and 19th-centuries and those of the early 20th-century who continued in a more conservative style. Artists such as Emil Carlsen, Charles Harold Davis, Frederick C. Frieseke, Robert Henri, Winslow Homer, Chauncey F. Ryder, Abbot Handerson Thayer, J. Francis Murphy, A. H. Wyant were the gallery's bread and butter.

When William Macbeth died in 1917 Robert Macbeth took up the reins with the assistance of Robert G. McIntyre . Although they incorporated the business as William Macbeth, Inc., in 1918 the gallery continued to be known, as it always would be, simply as Macbeth Gallery. Macbeth and McIntyre continued to show work in the same vein as the elder Macbeth. They concentrated primarily on oil paintings at this time, having found by the 1920s that "oils are all that our gallery owners will buy," though they also exhibited an occasional group of watercolors and pastels in addition to bronzes and other sculpture by contemporary American artists such as Chester Beach and Janet Scudder.

Of the early American painters the Macbeths and McIntyre were particularly interested in colonial portraits and miniatures, especially those painted by prominent artists in the latter part of the eighteenth century such as John Singleton Copley, Gilbert Stuart, Thomas Sully and John Trumbull. In its early years the gallery also handled the work of a few prominent American etchers including Frank W. Benson, Emil Fuchs, Daniel Garber, Childe Hassam and Chauncey F. Ryder. The print department was generally discontinued, however, in the late 1930s although the gallery continued to show prints by contemporaries such as Stow Wengenroth.

In 1924 relative prosperity allowed the gallery to move uptown to 15 East Fifty-seventh Street. When the 1930s brought new financial hardship for the gallery Macbeth and McIntyre took a variety of approaches to boosting sales. In 1930 they decided to hold only group exhibitions throughout the season to the exclusion of one-man shows, and also held some special exhibitions of paintings priced at a hundred dollars each in the hope that they could tempt those "willing to take advantage of a rare chance to secure representative examples of good art at a most attractive price." A move to smaller quarters at 15 East Fifty-seventh Street in 1935 was made with the intention of concentrating their efforts on the work of fewer contemporary artists, while continuing to handle the work of the older Americans they had long supported.

When Macbeth died suddenly and unexpectedly in August 1940 following an operation for appendicitis, McIntyre continued to run the gallery with the assistance of Hazel Lewis. During the 1940s McIntyre and Lewis showed primarily contemporary art in a wide range of media including oil, watercolor, pastel, drawing and sculpture, while continuing, as always, to show the occasional group of 19th-century Americans. The great success of the gallery's later years was undeniably Andrew Wyeth whose first exhibition, held at Macbeth Gallery in 1937, resulted in the sale of all twenty-two paintings cataloged.

Although subsequent Wyeth exhibitions were also successful, McIntyre struggled financially throughout the 1940s and periodically considered liquidating the company. Although "vitally interested" in contemporary art by people such as Robert Brackman, Jay Connaway, Carl Gaertner, James Lechay, Herbert Meyer and Ogden M. Pleissner he found that, for the most part, it did not pay. McIntyre continued operations until 1953 when he decided that doing so for profit was not only a financial burden but also ran contrary to his desire to spend more time devoted to his first love, early American art. When the lease expired on 11 East Fifty-seventh Street in April 1953 McIntyre did not renew it. After closing the gallery's doors he sold art from his New York apartment and from his home in Dorset, Vermont. He officially dissolved William Macbeth, Inc., in 1957.

The history of the Macbeth Gallery is a long and distinguished one with each successive proprietor making a significant contribution to art in America. William Macbeth helped establish an audience and a market for American art when few were willing to give it serious consideration. Robert Macbeth continued to cement the gallery's reputation as one of the leading firms in New York and was instrumental in organizing the American Art Dealers Association. Robert G. McIntyre claimed in a letter to Lloyd Goodrich, dated 22 June 1945, that the thing of which he was most proud was "the share I have had in the formation of the collection of the Addison Gallery of American Art, at Andover, Massacusetts." McIntyre was widely respected in the art community as a dealer, as an adviser to curators, and as a scholar whose research and book on Martin Johnson Heade helped "rediscover" an important American artist. One of his most significant and lasting contributions to the history of art in America, however, was undoubtedly his gift of the gallery's historical records to the Archives of American Art.
Related Material:
Among the holdings of the Archives of American are a small collection of scattered Robert McIntyre's papers and 9 items of William Macbeth's papers. Macbeth Gallery exhibition catalogs are also available in the American Art Exhibition Catalog collection and the Brooklyn Museum Records, both loaned and microfilmed collections.

An extensive collection of Macbeth Gallery exhibition catalogs are also held by the Frick Art Reference Library and the Watson Library of the Metropolitan Museum of Art.
Provenance:
The bulk of the Macbeth Gallery records were donated and microfilmed in several installments between 1955 and 1966 by Robert G. McIntyre and Estate. Additional Macbeth Gallery printed material was donated by Phoebe C. and William Macbeth II, grandchildren of William Macbeth, in 1974.
Restrictions:
Use of original papers requires an appointment and is limited to the Archives' Washington, D.C., Research Center. Fragile original scrapbooks are closed to researchers.
Rights:
The Macbeth Gallery records are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.
Topic:
Curators -- New York (State) -- New York  Search this
Eight (Group of American artists)  Search this
Art directors -- New York (State) -- New York  Search this
Art galleries, Commercial -- New York (State) -- New York  Search this
Artists -- United States  Search this
Art -- Collectors and collecting  Search this
Art, American  Search this
Art dealers -- New York (State) -- New York  Search this
Genre/Form:
Daguerreotypes
Photographs
Scrapbooks
Citation:
Macbeth Gallery records, 1838-1968, bulk 1892 to 1953. Archives of American Art, Smithsonian Institution.
Identifier:
AAA.macbgall
See more items in:
Macbeth Gallery records
Archival Repository:
Archives of American Art
EDAN-URL:
ead_collection:sova-aaa-macbgall
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